Languages: Latin LP, English Instruments: A cappella. The version most familiar to modern listeners bears little relation to the original music composed by Allegri. The structure of the work is most easily understood by looking at the edition of G. The moral is always to go for the best possible sound — from SACD where available, or bit download.
Despite my own low expectations, he seems much more attuned to the world of this last of the Wunderhorn symphonies than to its successors. Leif Segerstam recorded some of the Mahler symphonies for Chandos quite a while ago. That recording remains available from chandos. Whatever has gone before, any recording of this symphony stands or falls with the quality of the soloist in the finale.
Too operatic and the fairy tale atmosphere is lost; too little-girlish and it sounds as if the singer is in heavy weather. The new Segerstam recording leaves me with a good feeling after this account of the finale, and Alba have recorded his team in good quality. Including eight operas, ten violin concertos, and songs, the more than compositions credited to Saint-Georges give some indication of his impact upon the Parisian music scene.
Saint-Georges LP especially influential in the development of the Sinfonie Concertante, a genre featuring multiple soloists, usually two violinists, and orchestra. Although influenced by the more conservative writing of the Mannheim symphonists such as Johann Stamitz, Saint-Georges was both a performer and a showman. Saint-Georges also took full advantage of recent developments in bow technology to emphasize fleeting and precise passagework. By far the longest movement, the opening Allegro Moderato is in a modified sonata form that lacks a recurring first theme stated unequivocally in the tonic key.
While melodic ideas are repeated and passed from orchestra to soloist and back, Saint-Georges seems Album) possess a limitless melodic imagination. His melodies are often in two markedly contrasting four-measure segments whose distinct personalities are underscored by shifts from soft to loud. His writing is vigorous and intended to maximize virtuosic impact. Rather than develop small melodic ideas into larger ones, Saint-Georges provides a series of independent melodies.
The orchestral motif LP begins the piece, for example, never comes back. The soloist is also the only musician to play triplets in this movement. Throughout the work, orchestra and soloist retain their distinct melodic identities, sharing some material but also claiming certain motifs as uniquely their own.
It is LP a duo concerto for soloist and orchestra. He makes wonderful use of texture, balancing melody and accompaniment with polyphonic interplay and unison writing. Lilting triplets from the orchestra announce a shift in character for the second movement, a Largo which, despite its somber mood, is in the key of D major.
Again Saint-Georges strikes a remarkable balance between unity and variety in this lyric interlude. Saint-Georges borrows a technique from the Baroque concerto grosso by frequently restricting his accompanying ensemble to a small treble group of violins.
As with the second movement cadenza, each of the Eingangen or improvised melodic introductions recorded here were composed by Ms. Barton based upon themes from within the movement or from stylistically appropriate ornamental devices. The final movement brings the virtuoso display to a dramatic crescendo — a display that Ms. Barton intensifies with additional ornamentation, especially trills. The only comprehensive evidence that survives concerning the life and work of the Chevalier J.
The eighteenth-century composer was born in Paris and died in Berlin, but his precise dates remain unknown. While written only about eleven years after the Saint-Georges concerto and in a similar French Classical idiom, the stylistic gulf that separates the two is impressive. The later concerto lacks much of the virtuosic fire of the Saint-Georges, but evokes a broader range of emotion and dramatic intensity.
Yet, both concerti are constructed in much the same manner. Both have three movements: an allegro, a slow movement, and a rondo. Both lack the traditional first movement cadenzas of the German tradition, but contain opportunities for improvisation in the second movement. Their broad structural similarities likely represent an historically elusive French concerto tradition, yet the many more subtle parallels in the treatment of themes suggest the possibility that Meude-Monpas might have known the work of Saint-Georges.
In both first movements, for example, the use of triplet figures in the solo part set against an immutable duple accompaniment seems more than coincidental. The whole LP reveals a polish of craft and a fine attention to orchestration. Here, the soloist and orchestra are partners, not competitors.
The orchestral writing is so clear and unencumbered that the soloist never gets lost within the din of the musical argument.
While limited to the four-square melodic phrases of the Classical style, Meude-Monpas gives the illusion of a more lyric, almost romantic sensibility. If you would prefer to receive everything together regardless of any delay, please let us know via email. Pre-orders will be despatched as close as possible to the release date.
Maldere, Pieter Van.
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