Podcast appearances and mentions of David Oistrakh

Sergej Prokofiev (1891 - 1953) – Sinfonia Classica in re maggiore Op. 251. Allegro2. Larghetto  4:113. Gavotta: Non troppo allegro  8:064. Finale: Molto vivace  9:41 New York Philharmonic OrchestraLeonard Bernstein, conductor ***** Sergej Prokofiev (1891 - 1953) - Concerto n. 1 in re maggiore per violino e orchestra, op. 19I. Andantino 13:44II. Scherzo. Vivacissimo 23:25III. Moderato 27:18 David Oistrakh, violinoLondon Symphony OrchestraLovro von Matačić, conductor

durée : 01:28:22 - En pistes ! du lundi 28 octobre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Dès Lundi et toute la semaine, En Piste partage ses coups de cœur dans les grands enregistrements du violoniste David Oistrakh. - réalisé par : Antoine Courtin

durée : 01:28:22 - En pistes ! du lundi 28 octobre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Dès Lundi et toute la semaine, En Piste partage ses coups de cœur dans les grands enregistrements du violoniste David Oistrakh. - réalisé par : Antoine Courtin

durée : 00:07:35 - Le Bach du matin du jeudi 24 octobre 2024 - Notre Bach du matin, c'est un Bach du souvenir. Celui d'un des plus grands violonistes du 20ème siècle. Il s'est éteint il y a 50 ans jour pour jour, David Oistrakh joue avec Igor Oistrakh le double concerto en ré min BWV 1043.

durée : 00:07:35 - Le Bach du matin du jeudi 24 octobre 2024 - Notre Bach du matin, c'est un Bach du souvenir. Celui d'un des plus grands violonistes du 20ème siècle. Il s'est éteint il y a 50 ans jour pour jour, David Oistrakh joue avec Igor Oistrakh le double concerto en ré min BWV 1043.

Aram Khachaturian (1903-1978) – Concerto per violino in re minore1.       Allegro con fermezza (00:00)2.       Andante sostenuto (14:56)3.       Allegro vivace (27:13) David Oistrakh, violinMoscow Radio Symphony OrchestraAram Khachaturian, conductor It was composed for David Oistrakh and was premiered on 16 November 1940 by Oistrakh.

Sergej Sergeevič Prokof'ev (1891-1953) – Concerto per violino e orchestra n°2  op.63 I. Allegro moderatoII. Andante assaiIII. Allegro, ben moderato David Oistrakh, violinoPhilharmonia OrchestraAlceo Galliera, direttore

In almost every one of the past shows I've done about Shostakovich, the name Joseph Stalin is mentioned almost as much as the name Dmitri Shostakovich, and of course, there's a good reason for that. Shostakovich's life and music was inextricably linked to the Soviet dictator, and Shostakovich, like millions of Soviet citizens, lived in fear of the Stalin regime, which exiled, imprisoned, or murdered so many of Shostakovich's friends and even some family members. Post his 1936 denunciation, Shostakovich's music completely changed. Moving away from the radical experimentation he had attempted with his doomed opera Lady Macbeth of Mtensk, he adopted a slightly more conservative style, which he hoped would keep him in good stead with the authorities. But the piece I'm going to tell you about today, his monumental first violin concerto, is a bit different. It was written just after World War II, between 1947 and 1948. And yet, it was not performed until 8 years later. Shostakovich himself withdrew the work and kept it “in the drawer” along with his 4th string quartet and his song cycle From Jewish Folk Poetry. When the piece was finally performed by its dedicatee, David Oistrakh, it was a massive success, and it remains one of the best ways to “get into” Shostakovich's music. It is a huge work, in 4 grand movements, and Shostkaocvich himself described it as a “symphony for violin solo.” It features all of the qualities that make Shostakovich's music so exciting, powerful, heartbreaking, and intense, while also allowing the listener, for the most part, to remove politics from the equation. While there are certainly encoded messages in the piece, one of which we'll get into in detail, this is a piece that is as close to pure musical expression as any of Shostakovich's post 1936 works, and so today I won't be mentioning Stalin all that much, I won't be mentioning the Soviet government every other sentence, and instead, we'll explore what makes this concerto so fantastic, so emotionally powerful, and so rousingly exciting. Join us!

Synopsis John Lennon was born on today's date in the year 1940, in Liverpool, England — during a German air raid on that city, as it happened. With three other young lads from Liverpool, Lennon would eventually become world-famous, courtesy of the band he helped formed in 1959 called the Beatles. The Beatles started out in a Liverpool nightclub called the Cavern, playing pop tunes of the day, but soon began performing original material of their own. Before disbanding in 1970, some recognizable elements of classical music were incorporated into some Beatles songs, including a string quartet, a Baroque trumpet, and even an orchestra. And it wasn't just a one-sided exchange: Leonard Bernstein played a Beatles song on one of his “Young People's Concerts” to demonstrate sonata form. Arthur Fiedler performed symphonic arrangements of Beatles tunes at his Boston Pops concerts. And decades after the Beatles disbanded, former member Paul McCartney began composing original chamber works and big concert hall pieces, including a semi-autobiographical “Liverpool Oratorio.” Not surprisingly, some young British and American composers coming of age in the 1960s and 70s credit the Beatles as an influence. One elegant set of solo guitar arrangements of Lennon-McCartney tunes even came from Japan, courtesy of the eminent Japanese composer (and Beatles fan) Toru Takemitsu. Music Played in Today's Program Lennon and McCartney (arr. Toru Takemitsu) Here, There and Everywhere John Williams, guitar Sony 66704 On This Day Births 1585 - Baptismal date of German composer Heinrich Schütz, in Bad Löstritz; 1835 - French composer, conductor and pianist Camille Saint-Saëns, in Paris; 1914 - American composer Roger Goeb, in Cherokee, Iowa; 1938 - Finnish composer Einojuhani Rautavaara, in Helsinki; 1940 - John Lennon (of the Beatles), in Liverpool, England; Deaths 1999 - Jazz vibraphone virtuoso, Milt Jackson, age 76, in New York City; He was a member of the famous Modern Jazz Quartet; Premieres 1826 - Rossini: opera, "The Siege of Corinth," at the Paris Opéra; 1891 - Dvorák: "Requiem," Op. 89, in Birmingham, England; 1896 - Dvorák: String Quartet No. 13 in G, Op. 106, in Prague, by the Bohemian Quartet; 1921 - Janácek: "Taras Bulba" (after Gogol), in Brno; 1955 - Shostakovich: Violin Concerto No. 1, by the Leningrad Philharmonic conducted by Yevgeny Mravinsky, with David Oistrakh the soloist; 1963 - Henze: Symphony No. 4 in Berlin, with the composer conducting; 1980 - Jon Deak: Concerto for Oboe d'amore and Orchestra, by the New York Philharmonic conducted by Zubin Mehta with Thomas Stacy as soloist; 1985 - Anthony Davis: opera "X: The Life and Times of Malcolm X," in Philadelphia; The opera's New York City Opera premiere occurred the following year on September 28, 1986; 1986 - Andrew Lloyd-Webber: musical "Phantom of the Opera," at Her Majesty's Theatre in London; The musical opened on Broadway at the Majestic Theater on January 26, 1988; 1987 - Corigliano: "Campane di Ravello" (Bells of Ravello) for orchestra (a birthday tribute to Sir Georg Solti), in Chicago, with Kenneth Jean conducting; 1992 - David Ott: Symphony No. 3, by the Grand Rapids (Michigan) Symphony, Catherine Comet conducting; 1997 - Robert X. Rodriguez: "Il Lamento di Tristano," by flutist Susan Morris De Jong and guitarist Jeffrey Van, at the University of Minnesota in Minneapolis; 1999 - Bolcom: opera "A View From the Bridge," by the Lyric Opera of Chicago, Dennis Russell Davies, cond. 1999 - Michael Torke: symphonic oratorio "Four Seasons," at Avery Fisher Hall in New York, by soloists, chorus, and the New York Philharmonic, Kurt Masur conducting; Others 1973 - Leonard Bernstein gives the first of six lectures entitled "The Unanswered Question," as the Charles Eliot Norton Professor of Poetry at Harvard University. Links and Resources On The Beatles

Odesa, legendary Black Sea port city and vital geo-strategic nexus of global trade, is living through Russia's war against Ukraine. Always fiercely independent, both from Moscow and Kiev, its legendary past has given the city a reputation of possibility and promise. A quarter of a million people have left Odesa. Its beloved holiday beaches are closed and mined, yet life has gradually returned to its performance spaces: concerts, opera, spoken word. Recordings made since the first days of the war interweave with the fabulously rich cultural history of the city. Founded in 1794 by Catherine the Great as part of her expanding empire of Novo Rossiya, Odesa began as a dusty boom town of enormous opportunity and possibility that connected the chill of Imperial Russia to the warmth of the wider world. In some ways nothing has changed. A port city possessed of a unique argot - 'Odesski Iazyk' (a fusion of Yiddish and Russian); eternal optimism; a wicked sense of humour; more violinists than you can shake a bow at; poets and writers galore; and a gallery of rogues, real and imagined. Perhaps its most beloved literary son is Isaac Babel. Raised in the Moldovanka- still a place of liminal existence, his Odessa Tales of gangster anti-heroes like Benya Krik are forever interwoven with how Odesites and the wider world imagine the city - beautiful and bad! It is of course only partially true. Film-maker Sergei Eisenstein's Battle Ship Potemkin also put the city on the world map and the first film studios in Russia sprang up there. with its ready supply of sunlight. From foundational boom town days onwards its streets and people could make you rich, or ruin you. In the crumbling days of the Soviet empire it was a place to dream of escape to a world beyond. Babel and Eisenstein are just two among many who, since the 19th Century have helped created the myth of Old Odessa -poets and writers, musicians and comedians who flourished in what was a largely Jewish city until 1941 and the Nazi invasion of Russia. Legendary violinists ever since David Oistrakh are forged there at the Stolyarsky School, now closed due to war. Musician Alec Koypt, who grew up in the mean streets of Molodvanka, shipping proprietor Roman Morgenshtern, journalist Vlad Davidson, translator Boris Dralyuk, poets Boris and Lyudmila Kershonsky and others are our contemporary guides as the voices of the past bring forth their very Odesan genius.

Voici le cent cinquante-quatrième opus d'"En Cadence", une émission mensuelle consacrée aux grands thèmes éternels de la musique populaire : l'amour, les voyages, les filles, les yachts ou les chewing-gums. Le maestro Éric Rohmer n'aimait pas entendre la musique dans les films, il est donc normal de vous proposer la musique de ses films à la radio. Nous lui dédions ce nouveau numéro où les cœurs s'éprennent et où l'esprit bat la campagne. Liste des morceaux : 01. Sébastien Erms - Conte d'été : générique de début 02. Mathieu Rosaz - Comme dans un film de Rohmer 03. Jean-Luc Godard - Hommage à Eric Rohmer 04. Jean-Louis Valero - Le Rayon vert 05. Jean-Louis Valero - Astrée et Hylas (dans "Les Amours d'Astrée et de Céladon") 06. Guy Robert - Perceval le Gallois : introduction 07. David Oistrakh & Lev Oborin - La Sonate à Kreutzer 08. Leonid Kogan - Sonate pour violon et piano K.378 de Mozart (Allegro moderato, dans "Ma Nuit chez Maud") 09. Sébastien Erms - Conte d'hiver : générique de début 10. Lucienne Boyer - L'Étoile d'amour (dans "Les Nuits de la pleine lune") 11. Arielle Dombasle - Paris m'a séduit (dans "La Femme de l'aviateur") 12. Christian Bassoul & Florence Levu - Les Rendez-vous de Paris 13. Sébastien Erms - Fille de corsaire (dans "Conte d'été") 14. Chorale Populaire de Paris - Au devant de la vie (dans "Triple agent") 15. Jean-Louis Valero - Slow des îles (dans "Pauline à la plage") 16. Arielle Dombasle - Je n'sais pas avec qui ? (dans "Le Beau mariage") 17. Elli & Jacno - Les Tarots (dans "Les Nuits de la pleine lune"") 18. Jean-Louis Valero - Reinette et Mirabelle (Out One Edit) 19. Rosette - Bois ton café, il va être froid 20. Arielle Dombasle - Amour symphonique 21. Elli & Jacno - Les Nuits de la pleine lune 22. Clio - Éric Rohmer est mort (avec Fabrice Luchini) 23. Sébastien Erms - L'Arbre, le maire et la médiathèque : générique de fin

A Violin Concerto in G minor, Opus 26, became the best-known work of the German composer Max Bruch. Originally written in 1866 it went through many revisions before finally being completed in 1867. It was performed extensively but having sold both the publishing and the manuscript Bruch died in relative obscurity in 1920. The Concerto would continue to be played around the world and the second movement in particular, the Adagio, became a much-loved favourite. Journalist Claire Read describes how much her Mother loved the piece after Claire learned and performed it in school, and how she would listen to it whilst being treated for cancer. Ukrainian violinist Kostia Lukyniuk recalls playing it with an orchestra in his home town aged 11, and how music still gives him strength as he plays for those battered by the Russian invasion of his home country. The second movement brings back fond memories for Archers actor June Spencer who listened to it with her husband and their friends on a veranda in Minorca. Leader of the Welsh National Opera David Adams was inspired to take-up the violin after listening to a recording of David Oistrakh playing this piece, and later performed it at the Fishguard Festival. It was a favourite of his Mum's and that recording was played at her funeral. The Carnegie Hall was the setting for violinist Shlomo Mintz's most treasured performance and he describes how it feels to play those soaring melodies. Curator Robinson McClellan at The Morgan Library & Museum in New York explains how the manuscript of this concerto made its way from Germany to the USA, and why this work would later become a source of resentment for this 'establishment' composer. Studio Manager: Ilse Lademann Produced for BBC Audio in Bristol by Toby Field.

Today I welcome ShanRong Janicijevic-tuo to the podcast, a violist and music educator based in New York City, USA and a mother of 1.Born in China, ShanRong started playing the violin at the age of 10, which was considered late to start. ShanRong grew up in a valley a long way from the city, so she didn't have access to teachers. Her mother trained to become a violin teacher so she could teach her. After just 4 years of lessons, ShanRong was accepted into her high school Conservatory talent programme,After school ShanRong travelled to Singapore to completed her undergraduate education at the Yong Siew Toh Conservatory of Music, where she was under the tutelage of Mr. Zuo Jun and Mr. Alexander Souptel, former Concert Master of Singapore Symphony Orchestra.ShanRong then travelled to Pittsburgh to do her Masters and 4 years later got into the Doctorate programme in New York City. ShanRong holds Master's Degree and Artist Certificates in Violin performance and orchestra studies from the prestigious Carnegie Mellon School of Music as a full scholarship recipient, where she studied with Mr. Cyrus Forough, a pupil of legendary violinist David Oistrakh.ShanRong has more than 12 years experience working with students from different levels, ages, races and countries. Many of her college and pre-school students have accepted in major music schools and festivals in China and the United States. In academic teaching and researching, ShanRong was a teaching assistant in Western Music History and Rock Music History at Stony Brook University.ShanRong is a doctoral candidate in violin performance at Stony Brook University and recently appeared as soloist and chamber musician with Ms.Jennifer Frautschi, and Emerson quartet members at Stony Brook University Starry Nights Concert series, Arts of Violin and Chamber Music Festival.Today we chat about the unexpected injury that ShanRong has suffered since becoming a mother, role modelling the will to never give up and the appreciation she has for the support of those around her. You'll also hear chatter from her 8 month old and the rumble of the New York trains.Music from Dr Erica BallShanRong website / instagramPodcast website / instagramMummys Wrist

蹦藝術 S4 EP8｜談布拉姆斯小提琴協奏曲：第三樂章 用耳朵閱讀古典音樂 - 蹦藝術 | BONART

蹦藝術 S4 EP7｜談布拉姆斯小提琴協奏曲：第二樂章 用耳朵閱讀古典音樂 - 蹦藝術 | BONART

蹦藝術 S4 EP6｜談布拉姆斯小提琴協奏曲：第一樂章 用耳朵閱讀古典音樂 - 蹦藝術 | BONART

蹦藝術 S4 EP5｜談布拉姆斯小提琴協奏曲的創作背景 feat.姚阿幸 用耳朵閱讀古典音樂 - 蹦藝術 | BONART

durée : 00:25:21 - Florence Malgoire, violoniste (1/5) - par : Benjamin François - Toute son enfance, Florence Malgoire navigue entre l'accent du nord de sa mère et celui, chantant, de son père Jean-Claude, natif d'Avignon. A l'âge de 7 ans, elle choisit le violon, fascinée par le jeu de David Oistrakh. Pendant ce temps, Jean-Claude Malgoire crée son Florilegium Musicum de Paris… - réalisé par : Gilles Blanchard

Synopsis On today's date in 1999, the Lyric Opera of Chicago premiered a new opera by the American composer William Bolcom, based on “A View from the Bridge,” a powerful play by Arthur Miller. Now, not all stage plays “translate” well into opera, as Bolcom was well aware: “In theater, you have the text and then below it you have the subtext,” said Bolcom. “In opera it is pretty much the opposite, the subtext is what you are really dealing with first and foremost: big, raw emotions, which are supported by the text. In fact, Miller's play, although set in Brooklyn in the 1950s, has often been likened to a Greek tragedy, a theatrical form in which the chorus plays an important role. Bolcom saw that as a real opportunity: "If you are going to do an opera from a play, it better have a dimension that the play doesn't. In a play, you can't have your chorus speak because it is financially prohibitive: as soon as the chorus opens up its mouth the price goes up because of actors' equity. So, naturally one of the great resources of opera houses is an opera chorus, a resource you CAN use much more easily." Music Played in Today's Program William Bolcom (b. 1938) — A View from the Bridge (Lyric Opera of Chicago; Dennis Russell Davies, cond.) New World 80558 On This Day Births 1585 - Baptismal date of German composer Heinrich Schütz, in Bad Löstritz; 1835 - French composer, conductor and pianist Camille Saint-Saëns, in Paris; 1914 - American composer Roger Goeb, in Cherokee, Iowa; 1938 - Finnish composer Einojuhani Rautavaara, in Helsinki; 1940 - John Lennon (of the Beatles), in Liverpool, England; Deaths 1999 - Jazz vibraphone virtuoso, Milt Jackson, age 76, in New York City; He was a member of the famous Modern Jazz Quartet; Premieres 1826 - Rossini: opera, "The Siege of Corinth," at the Paris Opéra; 1891 - Dvorák: "Requiem," Op. 89, in Birmingham, England; 1896 - Dvorák: String Quartet No. 13 in G, Op. 106, in Prague, by the Bohemian Quartet; 1921 - Janácek: "Taras Bulba" (after Gogol), in Brno; 1955 - Shostakovich: Violin Concerto No. 1, by the Leningrad Philharmonic conducted by Yevgeny Mravinsky, with David Oistrakh the soloist; 1963 - Henze: Symphony No. 4 in Berlin, with the composer conducting; 1980 - Jon Deak: Concerto for Oboe d'amore and Orchestra, by the New York Philharmonic conducted by Zubin Mehta with Thomas Stacy as soloist; 1985 - Anthony Davis: opera "X: The Life and Times of Malcolm X," in Philadelphia; The opera's New York City Opera premiere occurred the following year on September 28, 1986; 1986 - Andrew Lloyd-Webber: musical "Phantom of the Opera," at Her Majesty's Theatre in London; The musical opened on Broadway at the Majestic Theater on January 26, 1988; 1987 - Corigliano: "Campane di Ravello" (Bells of Ravello) for orchestra (a birthday tribute to Sir Georg Solti), in Chicago, with Kenneth Jean conducting; 1992 - David Ott: Symphony No. 3, by the Grand Rapids (Michigan) Symphony, Catherine Comet conducting; 1997 - Robert X. Rodriguez: "Il Lamento di Tristano," by flutist Susan Morris De Jong and guitarist Jeffrey Van, at the University of Minnesota in Minneapolis; 1999 - Bolcom: opera "A View From the Bridge," by the Lyric Opera of Chicago, Dennis Russell Davies, cond. 1999 - Michael Torke: symphonic oratorio "Four Seasons," at Avery Fisher Hall in New York, by soloists, chorus, and the New York Philharmonic, Kurt Masur conducting; Others 1973 - Leonard Bernstein gives the first of six lectures entitled "The Unanswered Question," as the Charles Eliot Norton Professor of Poetry at Harvard University. Links and Resources On William Bolcom

Voici le cent cinquante-quatrième opus d'"En Cadence", une émission mensuelle consacrée aux grands thèmes éternels de la musique populaire : l'amour, les voyages, les filles, les yachts ou les chewing-gums.Le maestro Éric Rohmer n'aimait pas entendre la musique dans les films, il est donc normal de vous proposer la musique de ses films à la radio. Nous lui dédions ce nouveau numéro où les cœurs s'éprennent et où l'esprit bat la campagne. Liste des morceaux :01. Sébastien Erms - Conte d'été : générique de début02. Mathieu Rosaz - Comme dans un film de Rohmer03. Jean-Luc Godard - Hommage à Eric Rohmer04. Jean-Louis Valero - Le Rayon vert05. Jean-Louis Valero - Astrée et Hylas (dans "Les Amours d'Astrée et de Céladon")06. Guy Robert - Perceval le Gallois : introduction07. David Oistrakh & Lev Oborin - La Sonate à Kreutzer08. Leonid Kogan - Sonate pour violon et piano K.378 de Mozart (Allegro moderato, dans "Ma Nuit chez Maud")09. Sébastien Erms - Conte d'hiver : générique de début10. Lucienne Boyer - L'Étoile d'amour (dans "Les Nuits de la pleine lune")11. Arielle Dombasle - Paris m'a séduit (dans "La Femme de l'aviateur")12. Christian Bassoul & Florence Levu  - Les Rendez-vous de Paris13. Sébastien Erms - Fille de corsaire (dans "Conte d'été")14. Chorale Populaire de Paris - Au devant de la vie (dans "Triple agent")15. Jean-Louis Valero - Slow des îles (dans "Pauline à la plage")16. Arielle Dombasle - Je n'sais pas avec qui ? (dans "Le Beau mariage")17. Elli & Jacno - Les Tarots (dans "Les Nuits de la pleine lune"")18. Jean-Louis Valero - Reinette et Mirabelle (Out One Edit)19. Rosette - Bois ton café, il va être froid20. Arielle Dombasle - Amour symphonique21. Elli & Jacno - Les Nuits de la pleine lune22. Clio - Éric Rohmer est mort (avec Fabrice Luchini)23. Sébastien Erms - L'Arbre, le maire et la médiathèque : générique de fin Écouter

durée : 00:30:53 - David Oistrakh et la 1ère Sonate de Prokofiev - David Oistrakh joue la 1ère sonate pour violon et piano de Sergei Prokofiev, une oeuvre que le compositeur lui a dédiée. Il est accompagné par Frida Bauer (Praga)

Synopsis Pleyel and Company was a French piano firm founded in 1807 by the composer Ignace Pleyel. The firm provided pianos for Chopin, and ran an intimate Parisian 300-seat concert hall called the Salle Pleyel–the “Pleyel room” in English, where Chopin once performed. In the 20th century, a roomier Salle Pleyel comprising some 3,000-seats was built, and it was there on today’s date in 1929 that a new concerto for an old instrument had its premiere performance. This was the “Concert champetre” or “Pastoral Concerto” for harpsichord and orchestra by the French composer Francis Poulenc, with the Paris Symphony conducted by Pierre Monteux, and with Wanda Landowska as the soloist. “A harpsichord concerto in a hall that seats thousands?” you may ask. “How could anyone hear the harpsichord?” Well, the answer is that Madame Landowska performed on a beefier, metal-framed harpsichord built in the 20th century rather than the quieter wood-framed instruments used in the 18th. Landowska’s modern harpsichord was specially-constructed for her by–who else?–Pleyel and Company. Landowska needed those extra decibels because Poulenc’s concerto was scored for harpsichord and a large modern orchestra, with winds, percussion, and a large brass section that even included a tuba! Music Played in Today's Program Francis Poulenc (1899-1963) Concert champêtre/Pastoral Concerto Aimée Van de Wiele, hc; Paris Conservatory Orchestra; Georges Prêtre, cond. EMI Classics 69446 or 95584 On This Day Births 1886 - French organist and composer Marcel Dupré, in Rouen; 1920 - American composer and jazz pianist John Lewis, in LaGrange, Ill.; Deaths 1704 - Austrian composer Heinrich Biber, age 59, in Salzburg; Premieres 1831 - Hérold: "Zampa," at the Opéra-Comique in Paris; 1893 - Horatio Parker: oratorio "Hora Novissima," in New York City; 1917 - Bloch: "Schlemo" and "Israel" Symphony at Society of the Friends of Music Concert, Artur Bodanzky conducting; 1919 - Debussy: Clarinet Rhapsody (orchestral version), in Paris, with clarinetist Gaston Hamelin, at Pasdeloup Concert; 1929 - Poulenc: "Concert champêtre" for harpsichord and orchestra, at the Salle Pleyel in Paris, by the Paris Symphony with Pierre Monteux conducting and Wanda Landowska the soloist; 1934 - Bernard Rogers: "Three Japanese Dances," in Rochester, N.Y.; 1943 - Cowell: "American Melting Pot" (Set for Chamber Orchestra), at Carnegie Hall in New York, by the Orchestrette of New York, Frédérique Petrides conducting; 1952 - Vaughan Williams: "Romance" for harmonica and orchestra, in New York City; 1958 - Walter Hartley: Concerto for 23 Winds, at the Eastman School in Rochester, N.Y., by the Eastman Wind Ensemble, Frederick Fennell conducting; 1963 - Cowell: Quartet for Flute, Oboe, Cello and Harp, at the University of Miami, by John Bitter (flute), Julien Balogh (oboe), Hermann Busch (cello), and Mary Spalding (Mrs. Fabien) Sevitzky (harp); The work is dedicated to the conductor Fabien Sevitzky "in honor of his many services to American music"; 1969 - Shostakovich: Violin Sonata, in Moscow, with David Oistrakh and Sviatoslav Richter; 1989 - James MacMillan: "Visions of a November Spring" for string quartet, at University Concert Hall in Glasgowm Scotland, by the Bingham String Quartet; Others 1971 - Debut broadcast of National Public Radio's "All Things Considered" with an electronic theme by composer Don Voegeli of the University of Wisconsin (In 1974, Voegeli composed a new electronic ATC theme, the now-familiar signature tune of the program). Links and Resources Poulenc’s “Concert champêtre” played on a 1930 Pleyel harpsichord: 1st movement 2nd movement 3rd movement Wanda Landowska plays Bach Fantasia in C minor, BWV 906 (modern Pleyel harpsichord) Gustav Leonhardt plays Bach Fantasia in C minor, BWV 906 (on a “historic” 18th century harpsichord by Christian Zell, Hamburg, 1728)

Synopsis Pleyel and Company was a French piano firm founded in 1807 by the composer Ignace Pleyel. The firm provided pianos for Chopin, and ran an intimate Parisian 300-seat concert hall called the Salle Pleyel–the “Pleyel room” in English, where Chopin once performed. In the 20th century, a roomier Salle Pleyel comprising some 3,000-seats was built, and it was there on today’s date in 1929 that a new concerto for an old instrument had its premiere performance. This was the “Concert champetre” or “Pastoral Concerto” for harpsichord and orchestra by the French composer Francis Poulenc, with the Paris Symphony conducted by Pierre Monteux, and with Wanda Landowska as the soloist. “A harpsichord concerto in a hall that seats thousands?” you may ask. “How could anyone hear the harpsichord?” Well, the answer is that Madame Landowska performed on a beefier, metal-framed harpsichord built in the 20th century rather than the quieter wood-framed instruments used in the 18th. Landowska’s modern harpsichord was specially-constructed for her by–who else?–Pleyel and Company. Landowska needed those extra decibels because Poulenc’s concerto was scored for harpsichord and a large modern orchestra, with winds, percussion, and a large brass section that even included a tuba! Music Played in Today's Program Francis Poulenc (1899-1963) Concert champêtre/Pastoral Concerto Aimée Van de Wiele, hc; Paris Conservatory Orchestra; Georges Prêtre, cond. EMI Classics 69446 or 95584 On This Day Births 1886 - French organist and composer Marcel Dupré, in Rouen; 1920 - American composer and jazz pianist John Lewis, in LaGrange, Ill.; Deaths 1704 - Austrian composer Heinrich Biber, age 59, in Salzburg; Premieres 1831 - Hérold: "Zampa," at the Opéra-Comique in Paris; 1893 - Horatio Parker: oratorio "Hora Novissima," in New York City; 1917 - Bloch: "Schlemo" and "Israel" Symphony at Society of the Friends of Music Concert, Artur Bodanzky conducting; 1919 - Debussy: Clarinet Rhapsody (orchestral version), in Paris, with clarinetist Gaston Hamelin, at Pasdeloup Concert; 1929 - Poulenc: "Concert champêtre" for harpsichord and orchestra, at the Salle Pleyel in Paris, by the Paris Symphony with Pierre Monteux conducting and Wanda Landowska the soloist; 1934 - Bernard Rogers: "Three Japanese Dances," in Rochester, N.Y.; 1943 - Cowell: "American Melting Pot" (Set for Chamber Orchestra), at Carnegie Hall in New York, by the Orchestrette of New York, Frédérique Petrides conducting; 1952 - Vaughan Williams: "Romance" for harmonica and orchestra, in New York City; 1958 - Walter Hartley: Concerto for 23 Winds, at the Eastman School in Rochester, N.Y., by the Eastman Wind Ensemble, Frederick Fennell conducting; 1963 - Cowell: Quartet for Flute, Oboe, Cello and Harp, at the University of Miami, by John Bitter (flute), Julien Balogh (oboe), Hermann Busch (cello), and Mary Spalding (Mrs. Fabien) Sevitzky (harp); The work is dedicated to the conductor Fabien Sevitzky "in honor of his many services to American music"; 1969 - Shostakovich: Violin Sonata, in Moscow, with David Oistrakh and Sviatoslav Richter; 1989 - James MacMillan: "Visions of a November Spring" for string quartet, at University Concert Hall in Glasgowm Scotland, by the Bingham String Quartet; Others 1971 - Debut broadcast of National Public Radio's "All Things Considered" with an electronic theme by composer Don Voegeli of the University of Wisconsin (In 1974, Voegeli composed a new electronic ATC theme, the now-familiar signature tune of the program). Links and Resources Poulenc’s “Concert champêtre” played on a 1930 Pleyel harpsichord: 1st movement 2nd movement 3rd movement Wanda Landowska plays Bach Fantasia in C minor, BWV 906 (modern Pleyel harpsichord) Gustav Leonhardt plays Bach Fantasia in C minor, BWV 906 (on a “historic” 18th century harpsichord by Christian Zell, Hamburg, 1728)

Liya Petrova est née en 1990 en Bulgarie, dans une famille de musiciens. Au violon dès l'âge de 4 ans, la petite Liya aurait aussi pu être pianiste, c'est en effet l'instrument dont sa maman rêvait pour elle. Mais la petite fille qu'elle était, savait déjà parfaitement qu'elle voulait être violoniste et non pianiste. La suite de son parcours est à l'avenant de ses débuts précoces : 1ers concerts avec orchestre dès l'âge de 5 ans. Ses études se poursuivent à Rostock en Allemagne, dès 11 ans, en tant que "Junge Studentin" auprès de Petru Munteanu. Suivront la Chapelle Musicale Reine Elisabeth, avec Augustin Dumay; la Haute école de Musique de Lausanne avec Renaud Capuçon, et enfin la Hochschule für Musik ¿Hans Eisler¿ de Berlin, où elle travaillera avec Antje Weithaas. " J'ai eu beaucoup de chance ", nous confiera Liya Petrova, " parce que toutes ces personnalités musicales très différentes m'ont toujours encouragée à trouver ma voie, sans imposer leur vision. C'est avec un grand nombre d'informations musicales, et ces différents points de vue, issus de traditions multiples, que je me suis construite ma propre identité musicale ". Travailleuse acharnée et opiniâtre, et forte de ce parcours de haut vol, Liya Petrova a déjà remporté plusieurs prix à de prestigieux concours internationaux. En 2016, elle gagnait le 1er Prix au Concours Carl Nielsen, mais elle s'est aussi illustrée aux concours Concours International Tibor Varga, et Louis Spohr. En février 2021, son 3e disque paraissait chez MIRARE. Il sera au coeur de notre émission aujourd'hui. Elle consacre cette nouvelle production au Concerto pour violon de Beethoven, et au 7e Concerto pour violon de Mozart. Une oeuvre magnifique, et qui titille la curiosité des mélomanes, puisque Mozart n'a composé, -a priori- que 5 Concertos pour violon. Ses 6e et 7e Concertos, auraient quant à eux été retouchés par des tiers. Depuis une vingtaine d'années maintenant, il est avéré que ce 7e Concerto pour violon n'a pas été exclusivement composé par Mozart. Une découverte qui a, -semble-t-il-, éloigné bon nombre de violonistes de la partition, qu'on ne joue presque plus, alors que David Oistrakh, par exemple jouait volontiers ce Concerto au 20e siècle. Liya Petrova, elle, ne s'est pas laissée influencée par ces débats musicologiques, et s'est laissée guider par la musique, qui est d'une élégance et d'une grâce toute mozartiennes. Accompagnée par le Sinfonia Varsovia, qu'elle connaît bien, sous la baguette de Jean-Jacques Kantorow, lui-même violoniste, Liya Petrova signe un disque excessivement sensible, inspiré et maîtrisé. Mozart et Beethoven se développent dans toute leurs richesses, et leurs finesses : deux oeuvres lumineuses, servies par une sonorité au timbre particulièrement velouté et chatoyant. Un optimisme musical qu'elle a ardemment souhaité, puisque ce disque a été enregistré entre la 1ère et la 2e vague de la pandémie que nous vivons. Liya Petrova varie les vibratos, et les couleurs, et elle a acquis ce qui fait l'étoffe des grands : déployer une sonorité riche et dense, même dans les nuances les plus délicates. La jeune violoniste joue un violon Carlo Bergonzi de 1737, généreusement prêté par Xavier et Joséphine Moreno. Sa sonorité, et son intelligence musicale sont un régal, de même que la direction et le jeu du "Sinfonia Varsovia", qui ne font que décupler les intentions de la jeune artiste bulgare. Nous écouterons également des extraits de son disque précédent, publié en janvier 2020, avec le pianiste russe Boris Kusnezow. Les 7e et 8e Sonates pour piano et violon de Beethoven y sont au programme, de même que la Suite pour violon de Britten, ainsi qu'une pièce de Samuel Barber. Enfin, nous entendrons aussi notre invitée dans un extrait du Concerto pour violon de Carl Nielsen (1911). Une oeuvre qu'elle a enregistré en même temps que le 1er Concerto pour violon de Prokofiev, en compagnie de l'Orchestre symphonique d'Odense, dirigée par...

01 - Prologue Quarteto Cordes n5 (Bartok) 1 37 02 - Deux Guitares (Charles Aznavour)    3 23 03 - Brahms Double Concerto - David Oistrakh (violin)  Mstislav Rostropovich (cello)  13 05 04 - Criador de Argonatas (Lula Pena)  2 27 05 - Eurico Carrapatoso Opéra1 (Coro Ricercare)  11 08 06 - Nao se Subordinar Nada (Timoteo DosSantos) 2 57 07 - David Oistrakh (violin)  Mstislav Rostropovich (cello)  11 06  08 - Cantiga Santa Maria Afonso X O Sabio (C Infantil Lisboa) 1 38 09 - Toca Me Suaves Olhos (Carminho & Diogo Clemente) 1 06 10 - Serei Sempre Rua Douradores (Ricardo Ribeiro) 1 03 11 - Tocata Adagio Fuga doM (Bach)   2 56 12 - Quarteto Cordas 19 DoM Adagio Allegro (Mozart 13 - Sofro e Sonho  Caetano Veloso

01 - Prologue Quarteto Cordes n5 (Bartok) 1 37 02 - Deux Guitares (Charles Aznavour)    3 23 03 - Brahms Double Concerto - David Oistrakh (violin)  Mstislav Rostropovich (cello)  13 05 04 - Criador de Argonatas (Lula Pena)  2 27 05 - Eurico Carrapatoso Opéra1 (Coro Ricercare)  11 08 06 - Nao se Subordinar Nada (Timoteo DosSantos) 2 57 07 - David Oistrakh (violin)  Mstislav Rostropovich (cello)  11 06  08 - Cantiga Santa Maria Afonso X O Sabio (C Infantil Lisboa) 1 38 09 - Toca Me Suaves Olhos (Carminho & Diogo Clemente) 1 06 10 - Serei Sempre Rua Douradores (Ricardo Ribeiro) 1 03 11 - Tocata Adagio Fuga doM (Bach)   2 56 12 - Quarteto Cordas 19 DoM Adagio Allegro (Mozart 13 - Sofro e Sonho  Caetano Veloso

De Beethovenweek van Aukelien van Hoytema. b1. Pianosonate nr. 21 in C op. 53 “Waldstein” Artur Schnabel-piano 2. Vioolsonate no 5 in F op.24 “Frühling” David Oistrakh-viool; Lev Oborin -piano. 3. Das Lebewohl uit de pianosonate no 26 in Es op. 81 a Alfred Brendel-piano

Il est l'équivalent d'un Glenn Goulde pour le piano, ou d'une Maria Callas pour le chant lyrique. Le Russe David Oistrakh est sans doute le plus grand violoniste du XXe siècle. Laure Dautriche nous propose dimanche de redécouvrir une partie de son oeuvre et de son histoire. 

Alina Ibragimova makes her Heinz Hall debut Friday and Sunday playing the Shostakovich Violin Concerto No. 1 with Jakob Hrusa and the Pittsburgh Symphony. In this conversation with Jim Cunningham, she gives a roadmap for the music, describing Shostakovich haunted nature, tells us her story from growing up in Russia not too far from Moscow, the Russian school of string playing, David Oistrakh, talks about her appearances on the BBC for the Promenade concerts, and as a young artist.  Plus, she talks about her more than 18 cds for the Hyperion label including music by Roslavets and Lekeu. What she is reading these days too!

durée : 00:59:30 - 3. Combat de titans : le concours Wieniawski de 1935 - par : Marina Chiche - En 1935, la planète violon se retrouve à Varsovie lors du Concours Wieniawski. Ginette Neveu, âgée de 15 ans, fait sensation et remporte le 1er Prix devant le candidat soviétique David Oistrakh, qui a 27 ans. - réalisé par : Françoise Cordey

This week I have TWO co-hosts on Sticky Notes as Donald Weilerstein(my dad, and one of the most sought after violin teachers in the world) and Soovin Kim(a wonderful violinist and sought after teacher) sit down with me to listen to great recordings of violinists of the past, such as Jascha Heifetz, David Oistrakh, Christian Ferras, Joseph Szigeti, and Ginette Neveu.  We talk about what makes them so great, what makes them different from one another, how we can learn from them, all while listening to tons of absolutely wonderful music.  Thanks for listening!  

durée : 00:58:45 - Les 30 ans de Proquartet - par : Jean-Baptiste Urbain - **Avec Pierre Korzilius, directeur de [ProQuartet](https://www.proquartet.fr/), Centre européen de musique de chambre** ## Au disque **Joseph Haydn** _Quatuor à cordes en si bémol majeur op. 76 n° 4 "Lever de soleil" (extrait) : III. Menuet Allegro_ Quatuor Manfred Disques Pierre Vérany **Philip Glass** _Quatuor à cordes n° 5 (extrait) : V._ Quatuor Smith Signum **Franz Schubert** _Quatuor à cordes n° 4 en ut majeur D. 46 (extrait) : IV. Finale_ Quatuor Modigliani Mirare ## Actualités {% image ad7fd49e-dff2-4270-8db1-d8a3cd0fc621 %} **Ernest Chausson** _Chanson perpétuelle op. 37_ Kate Lindsey, mezzo-soprano / [Quatuor Van Kuijk](http://www.quatuorvankuijk.com/) / Alphonse Cemin, piano Alpha {% image 03700c07-a43d-4b3b-b12a-cb2d7b20e003 %} **Edouard Grieg** _Quatuor à cordes n° 1 en sol mineur op. 27 (extrait) : II. Romanze : Andantino - Allegro agitato_ [Quatuor à cordes David Oistrakh](http://www.oistrakhquartet.com/) Muzo {% image 531ddabe-9ffe-425a-b852-f33848afbcc6 %} **César Franck / arrangement Soledad** _Prélude (extrait de Prélude, Fugue et Variation en si mineur)_ [Soledad](http://www.manucomte.com/logical.html) : Manu Comté, bandonéon / Jean-Frédéric Molard, violon / Alexander Gurning, piano Warner Music {% image 00c0e8b6-6165-4b1b-b582-de842244b490 %} **Erik Satie / arrangement Manuel Doutrelant et Thierry Escaich** _Je te veux_ [Romain Leleu](https://romainleleu.com/), trompette / Thierry Escaich, orgue Aparté - réalisé par : Laurent Lefrançois

Eva 1931 Eva's autobiography, Of Exile and Music, is available for purchase on Amazon. Music selected by Eva: Romanze für Violine und Orchester nr. 1 G-dur op. 40 - Ludwig Van Beethoven, as played by David Oistrakh.

Rob presents works by Mozart, Saint-Saens, Wagner and Dvorak from performers including Arturo Toscanini, Christian Zacharias, David Oistrakh and Il Giardino Armonico.

David Oistrakh plays Ravel Tzigane | ♫ Analyse Poignet Stable ♫ | J'insiste sur la stabilité du poignet, voici encore une analyse d'un poignet et de la dynamique du membre supérieur tout entier. Dites-moi en commentaire ce que vous en pensez ! Pour aller encore plus loin, abonne-toi à la chaine YOUTUBE ►► www.youtube.com/user/AArtistesPerformance ☞ Et clique sur le pouce ! Fais passer à tes amis musiciens, chaque jour je te partage de nouvelles infos sur ton quotidien, ta pratique, ton organisation de travail, et le plaisir de jouer longtemps et sans douleur ! O▽ Les infos de ma liste personnelle : https://thejoyofplaying.com/present ➞ Toute l'actu sur Facebook https://www.facebook.com/TheJoyOfPlaying/ ➞ Mon Podcast sur Sondcloud https://soundcloud.com/marcpapillon * Cette vidéo est purement fan-made, si vous musiciens (les propriétaires) souhaitez supprimer cette vidéo, s'il vous plaît CONTACTEZ-NOUS DIRECTEMENT. Nous la supprimerons avec respect. Email : marc@artistesperformance.com

Music from Finzi, Mozart, Prokofiev and Elgar with performers including David Oistrakh, Eugene Ormandy, Fritz Reiner and Karl Richter.

Playwright and novelist Michael Frayn recalls meeting the great violinist David Oistrakh, and reveals which piece of Mozart reduced him - and his teenage granddaughter - to tears.

In this episode we wanted to celebrate the upcoming holidays with a few of our favorite pieces. We have also included a special sneak peak to Agustin Hadelich's new album, "Echoes of Paris"! We hope you enjoy the music. Everyone have a wonderful holiday and a fantastic New Year! Harry Christophers, The Sixteen "In Dulci Jubilo" from "A Traditional Christmas Carol Collection, Vol. II" (The Sixteen Productions Ltd.)    There is such an abundance of festive music available to us that sometimes one wishes Christmas did not come but once a year! The Sixteen’s first volume of traditional Christmas carols contains some of our most favorite pieces but there is so much more wonderful festive music that deserves to be better known. So we decided to make a second volume. On this disc you will discover familiar seasonal favorites such as ‘Unto us a boy is born’ and ‘It came upon the midnight clear’ but we have also included some less well-known gems like ‘Cherry Tree Carol’ and ‘Gloucestershire Wassail’.Woody Phillips "Dance Of The Sugar Plum Fairy" (mp3) from "A Toolbox Christmas" (Gourd Music) Buy at Amazon MP3 Buy at eMusic More On This AlbumA Toolbox Christmas - Liner Notes: A Toolbox Christmas marks Woody Phillips' breathtaking debut into a world of repertoire and instrumentation only dreamed of by composers who have gone before him. True, Beethoven gave us the 'Hammer (klavier) Sonata' -- but Phillips has dared to explore the full range of the workbench's symphonic palette. Never before have your ears experienced the the exquisite marimba-like 2x4's in Jingle Bells ; the majestic table saw duet in Joy to the World ; the sensitive counterpoint provided by the power planer in I Saw Three Ships ; the filigreed ornamentation of the clanking pipes in We Wish You a Merry Christmas ; the uniquely persuasive percussion of the pneumatic nailer in Patapan ; the panoply of hand and power tools in The Twelve Days of Christmas -- listen and you'll know you're in a new and extraordinary realm of holiday music. Tchaikowsky's beloved Dance of the Sugar Plum Fairy may never sound the same to you again once you've experienced Phillips' ensemble of antique hand drill, mandolin, anvil, t-square, level and pipes. Will an eye remain dry as Auld Lang Syne, ethereal and poignant on the musical saw, shimmers over the drone of the shop vac? Phillips' ear is impeccable, perfectly attuned to nuances of tone and subtle differences of timbre among the various power tools, always employing the right tool for each job. Never, however, does Phillips disdain the traditional instruments of the concert hall. Though purists may balk at the sound of actual musical instruments on A Toolbox Christmas , when Phillips senses the need for a cello, mandolin, oboe or flute, in it goes, without regard for mere commercial considerations. His generous, all-encompassing love of beautiful sounds permits no petty divisions in his artistic kingdom. Above all, Phillips' true genius in A Toolbox Christmas has been to include the entire ambiance of the workshop on this recording. He has drawn not only on the incomparable sonorities of the tools themselves, but adds sounds every home-improver will recognize with delight: a tape measure retracting; duct tape tearing; the little ball bearing rolling as the spray paint can is shaken. He has created choirs of bottles and chiming sacks of 10d nails. Perhaps most inspired of all is his brilliant use of the perfectly-timed pop-top. The resulting magic awaits you in A Toolbox Christmas .Sir Colin Davis, London Symphony Orchestra "Messiah" from "Handel: Messiah" (LSO Live) Buy at iTunes Music Store Buy at Amazon MP3 Buy at eMusic More On This Album Handel's masterpiece uses short texts from the Bible to tell the story of Christ's birth, death and resurrection. Imbued with a deep humanity and written with the imagination of a composer at the peak of powers, Messiah is intimate yet dramatic and includes some of Handel's best-loved music.Hallé, Carl Davis"The Nutcracker" from "Hallé Christmas Classics" (Halle Concerts Society) Buy at iTunes Music Store Buy at Amazon MP3 More On This AlbumA wealth of Christmas favourites, under the direction of BAFTA award-winning conductor and composer, Carl Davis.'Claire Rutter... thrilling confidence and elan... a true prima donna... [with] spine tingling top notes...' Sunday Times Augustin Hadelich, Robert Kulek"Poulenc: Sonata for Violin and Piano, Op. 119" from "Echoes of Paris" (AVIE Records) More On This Album Augustin Hadelich, Robert Kulek"Stravinsky: Suite After Themes, Fragments and Pieces by Giambattista Pergolesi" from "Echoes of Paris" (AVIE Records) More On This AlbumI chose the four works on this recording because I think they fit together really well. After having played many combinations of them in recitals, I started wondering about the connection between these pieces - why are they so compatible? Almost immediately, Paris came to mind. All of these composers lived in Paris during the early part of the 20th century, when that city was a magnet for creative artists: painters like Matisse, Dali, Chagall, and Picasso, the writers Proust, Joyce, and Hemingway, and composers such as Debussy, Ravel, Satie, Poulenc, Copland, and many others. Stravinsky and Prokofiev were also among the many expatriate musicians who flocked to Paris at that time. They drew inspiration from the city’s electric atmosphere and cultural ferment, and then went off in their own amazing, revolutionary directions. I think that these French and Russian pieces form such a good program because there are echoes of Paris in these four works that help tie them together: puppet-like dances in both Debussy and Stravinsky; percussive, as well as militaristic and march-like sections in Stravinsky's Suite and the sonatas of Poulenc and Prokofiev; jazz references in Debussy and Prokofiev; and hints of Spanish flavor in both Debussy and Poulenc, so popular among French composers at that time. The key signatures also help to unify the program - g minor, G Major, D Major, and d minor. Claude Debussy sought to develop a style that was free of German compositional influences. Drawing inspiration from Spanish, jazz, and gypsy music, the violin sonata of 1917 (his last work) certainly bears the imprint of that philosophy. Avoiding the conventional sonata form, the structure of the piece is quite fractured and rhapsodic - the result is unique and fascinating. I love the sonata for all of its sudden twists and delicate turns. The second movement makes me think of puppets engaged in a dance. In 1920, two years after Debussy's death, Igor Stravinsky wrote his ballet Pulcinella, a humorous neo-classical work, that premiered in Paris the same year with sets and costumes designed by Pablo Picasso. In this work, he used music from an obscure 18th-century commedia dell'arte opera, assumed to have been written by Pergolesi, but probably written by other, lesser-known composers. By altering this material in various ways, Stravinsky created something completely new. He called the composition of Pulcinella an "epiphany through which my late work became possible" - for the first time, borrowed style became a compositional element. Most often, violinists play Samuel Dushkin’s 1932 transcription of Pulcinella, modeled after the transcription for cello and piano. Because many of the quirky dissonances are removed, it turns out to be a rather toned-down version of the work. On this recording, I am playing the earlier 1925 transcription that was made in collaboration with the violinist Paul Kochanski; it is much closer to Stravinsky’s original orchestral work. It is more difficult for both the violinist and the pianist, but well worth the effort! Sometimes I think the awkwardness of the writing is intentional, to make the piece seem slightly askew, making both the player and the listener a little bit uncomfortable. I am again reminded of puppets, but larger and clumsier than Debussy's. I also love how Stravinsky composes apparent mistakes into the piece. Having fled Russia after the revolution in 1917, Sergei Prokofiev spent many years living in Paris before returning to his homeland in 1935. Very much admired by Stravinsky and other composers who lived in Paris at the time, his first symphony (1917) is considered to be one of the first neo-classical works, even pre-dating Stravinsky's Pulcinella. His second violin sonata is, however, a late work. Originally written in 1942 for flute and piano, it was transcribed for violin at the request of David Oistrakh. It is a large, powerful work that is, in turn, sweet, happy, sad, passionate, even violent and militaristic. The march in the last movement, however, makes me think more of tin soldiers than real ones! In the sonata by Francis Poulenc, the soldiers are very real. Composed in 1942-1943, it is Poulenc’s homage to the great Spanish poet, Federico Garcia Lorca, who was executed in 1936 by the fascist government in Spain. The percussive opening of the sonata owes something to Stravinsky and Prokofiev, who were among his formative influences. Throughout the first movement, militaristic passages are juxtaposed with more lyrical, salon-like themes; perhaps these represent the socialist and fascist forces at war in Spain when Lorca was killed. Showing the impressionist influence of Debussy, the beautiful second movement was inspired by one of Lorca's poems: It has been speculated that the two triple-forte notes in the piano towards the end of the last movement ("Presto tragico") are the gunshots of the firing squad. Following exclamations of pain, a few sweet memories briefly return in the sorrowful coda. Poulenc himself was actually quite unhappy with the sonata, which was written for the French violinist Ginette Neveu, and after many revisions concluded that it was an "utter failure". I think he was being a little too hard on himself, and history has not agreed with him. It is one of my favorite sonatas, and I perform it often. Likewise, audiences are extremely enthusiastic and deeply moved by it. Coincidentally, I played a recital in Paris in April 2010 at the Louvre, also with Robert Kulek. We couldn't resist taking some photos while we were there. I hope you enjoy this recording! Augustin Hadelich