By Robin Stowell
This can be the 1st person examine of Beethoven's Violin Concerto. It explores the work's history and the impacts that mixed in its construction, and describes its detached preliminary reception. It considers the various textual difficulties that confront the performer, together with dialogue of Beethoven's model for piano and orchestra. Following a close synopsis of the paintings itself, a last part stories the big variety of cadenzas which were written to counterpoint the concerto all through its functionality historical past.
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Extra resources for Beethoven: Violin Concerto
39 The younger generation of Soviet violinists, among them Oistrakh's son Igor (b. 1931), Valery Klimov (b. 1931) and latterly Gidon Kremer (b. 1947) and Dmitri Sitkovetsky (b. 1954), has yet to produce an outstanding recording of Beethoven's Violin Concerto. Kremer's two recordings of the work (Academy of St Martin in the Fields/Marriner; Chamber Orchestra of Europe/Harnoncourt), for example, are somewhat mannered and have suffered criticism because they incorporate controversial cadenzas by Schnittke and 'Beethoven/Kremer'.
13 Baillot was invited to perform the concerto again on 11 May in the same season's sixth concert. 14 The Leipzig-born pupil of Spohr, Friedrich Wilhelm Eichler, appears to have started a trend for the work's greater popularity in his 34 Reception and performance history native city when he performed 'the seldom played violin concerto of Beethoven' there in 1833. Eight years later, the correspondent of the Allgemeine Musikalische Zeitung suggests that the work was somewhat better known and expresses surprise that it was not heard even more often: Most interesting is the Violin Concerto in D major, the only one known from or written by Beethoven.
3 Kreutzer: Violin Concerto No. 4 Viotti: Violin Concertos Nos. 5 Viotti: Violin Concerto No. 5 in C major (1st movement) Concerto No. g. Nos. 22, 27, 28 and 29) for the type of accompanied cadenza included in the first movement of Beethoven's piano adaptation, Op. 61a; and the relation of Beethoven's rondo 18 The genesis of Op. 6 Viotti: Violin Concerto No. 7 Kreutzer: Violin Concertos Nos. 8 Kreutzer: Violin Concerto No. 16 in E minor (1st movement) themes to those of Viotti's Sixth Concerto, and it is evident that one may legitimately regard much of Beethoven's Violin Concerto as an individual and advanced interpretation of the French school's, and especially Viotti's, conception.