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101. EDWARD ELGAR, Violin Concerto & Cello Concerto: The Music, The Recordings
For the firsttime listener, the stumbling block to the violin concerto is thatlong cadenza in No longer is he nigel kennedy; no longer even the Nige.
http://www.geocities.com/hansenk69/major4.html
VIOLIN CELLO CONCERTO CLICK HERE to return to the Section on Elgar's Major Works for Orchestra CLICK HERE to return to the Edward Elgar Home Page Note: If you live in the UK and wish to purchase some of the recordings discussed in this section, I've provided links to Amazon UK for specific recordings. If you live in the USA, go to Amazon.com or , two excellent sources for CDs. VIOLIN CONCERTO IN B MINOR, OP. 61 Duration: 50 minutes Introduction This concerto, written at the peak of Elgar's career, carries on the tradition of Beethoven and Brahms, as noted above. Like both of those composers' violin concerti, it is long, with an expansive opening movement cast in traditional form (sonata form, including a lengthy opening orchestral exposition of the themes before the soloist enters); the slow movement is quiet and songful, but rises to an impassioned climax; and the finale ends with a very positive affirmation. Structurally, Elgar's finale is innovative: at its heart is a (very) long cadenza which looks back nostalgically to themes heard earlier in the work, and which features a unique orchestral accompaniment utilizing a strummed pizzicato. As with the Beethoven and Brahms concerti, it requires not only a top-drawer soloist, but also a top-rank conductor to hold the long work together and keep it from rambling. And, as with those concerti, there are no glitzy emotional outbursts to carry the work along. For the first-time listener, the stumbling block to the violin concerto is that long cadenza in the finalelonger than just about any other cadenza in the concerto repertoire. At first hearing, it may seem TOO long, holding up the forward momentum of the piece. Upon repeated hearing, however, it becomes apparent what Elgar is up to: he has integrated the cadenza structurally into the piece so that it is no longer merely a solo showpiece essentially unrelated to the rest of the concerto. Instead, it becomes the emotional and structural climax of the whole work. Here Elgar has the soloist nostalgically reflect on themes from earlier in the work, tying them all together in a final meditation, before the dash to the finish line that ends the concerto. However, the cadenza is certainly demanding on the soloist, as he has to hold the stage and sustain interest for such an extended stretch of music.

102. Forums > A Question To Be Answered By All Violinists!
Violinists of this era were good, but on the whole the portamento is a bit tooheavy for me. music123 Not the best, but nigel kennedy is pretty cool.
http://forums.abrsm.org/lofiversion/index.php/t4440.html
Help Search Member List Calendar Full Version: Forums Viva Network Viva Strings Pages: Jan 4 2005, 03:53 PM Jan 4 2005, 04:25 PM How modern is modern?
Menhuin sarah-flute Jan 4 2005, 04:31 PM QUOTE (david_t @ Jan 4 2005, 04:25 PM) How modern is modern?
"is" rather implies alive.... AmandaL Jan 4 2005, 06:04 PM Hmmmm
Maxim Vengerov, or Vadim Repin. socks Jan 4 2005, 06:16 PM kreisler?
i suppose he is modern enough to have surviving recordings. somehow i prefer the 20s, 30s violinists. AmandaL Jan 5 2005, 01:03 PM QUOTE prefer the 20s, 30s violinists.
Violinists of this era were good, but on the whole the portamento is a bit too heavy for me. Jan 6 2005, 12:52 PM I like Sarah Chang. Katet Jan 6 2005, 01:57 PM QUOTE (david_t @ Jan 4 2005, 04:25 PM) Menhuin
I agree socks Jan 6 2005, 02:40 PM QUOTE (AmandaL @ Jan 5 2005, 01:03 PM) QUOTE prefer the 20s, 30s violinists.
Violinists of this era were good, but on the whole the portamento is a bit too heavy for me.
and their molto molto rubato zoda Jan 6 2005, 09:41 PM AmandaL Jan 6 2005, 10:39 PM

103. The Kennedy Experience - Culture Shock News
A considerable contribution to this affection of mine has been made by theviolinist nigel kennedy who entered the Guinness Book of Records with his
http://www.sofiaecho.com/article/the-kennedy-experience/id_11065/catid_47
September 13, 2005 In this issue Top News News Business Features ... Forum
Issue 36 : September 9 to 15, 2005 In the latest issue of The Sofia Echo: Higher deficit feared...Libya quagmire...The art of hospitality Archive Current Issue Subscription Advertising ...
Culture Shock
Sun 27 Mar 2005 The Kennedy experience Christina Dimitrova I am not a fan of classical music. It bores me.
The only classical piece that I really like, can hum and know who wrote, is Antonio Vivaldi’s Le Quattro Stagioni.
A considerable contribution to this affection of mine has been made by the violinist Nigel Kennedy who entered the Guinness Book of Records with his performance of Vivaldi’s piece.
I rarely, almost never, as a matter of fact, go to classical concerts but consider myself lucky to have attended both of Kennedy’s concerts in Sofia, in 1999 and this past week.
I can still remember the first time, when Kennedy’s performance shook me so much that I left the hall in some kind of religious ecstasy.
So when on March 17 a colleague called me on my mobile and said that Kennedy has just whizzed past her on his bike and has entered the building of the Musical School in Sofia only a block away from The Sofia Echo office, I grabbed a digital camera, a permanent marker and my press pass for the concert on the following day and ran up Oborishte Street hoping to at least get an autograph.
What I really got was more than I ever hoped for as my uncharacteristic nerve and typical luck got me into the concert hall of the school where Kennedy was rehearsing with the Classic FM Orchestra.

104. British Violin Sensation Kennedy
British violin sensation kennedy straddles the classics For well over a decadeNigel kennedy, as he was first known, has been acknowledged as Britain s
http://www.news.cornell.edu/Chronicle/98/11.5.98/Kennedy.html
British violin sensation Kennedy straddles the classics
"Structures, not strictures" is Kennedy's description of the unusual Cornell Concert Series program he will present Monday, Nov. 9, at 8 p.m. in Bailey Hall. Juxtaposing works by Bach, Bartok and his own arrangement of songs by rock icon Jimi Hendrix, the British violinist with the single moniker will perform both as soloist and with the "Kennedy Collective," an ensemble comprising two guitarists, two cellists, double bass, flute and oboe. "As is the case with most musicians' recitals, I have chosen works which inspire me," notes Kennedy, "and I hope, mainly through my interpretations, but also because of the context in which I have placed all these works, to be able to shed new light on them. This is, after all, surely the function of an interpreting artist." Tickets for the concert at $25, $22, $19 and $16 for the general public and $15, $13, $11.50 and $9.50 for students and are on sale at the Lincoln Hall Box Office, 105 Lincoln Hall, 255-5144. Tickets may also be ordered via the Cornell Concert Series web site at http://www.arts.cornell.edu/ccs

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