Par BRUCH MAX. Thanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto #1 zipped onto the road to success and has never left it since. Yet from the preface of the 'BreitkopfUrtext' edition,one can infer how things looked like behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote '3, 4 development sections in the finale,' and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done (see above), Bruch suffered under the work's popularity: 'Have I written nothing but this one concerto?' The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work./ Répertoire / Violon 2 (Partie Séparée)

Un célèbre violoniste et enseignant discute l'interprétation des normes répertoire pour violon, en s'appuyant sur 360 illustrations et des extraits musicaux ainsi qu'une durée de vie de l'expérience artistique. Convient pour les joueurs de tous niveaux, thèse de Leopold Auer offre des suggestions pour l'exécution des travaux par les grands compositeurs ainsi que des observations sur les techniques de Paganini, Wieniawski, Joachim, et d'autres virtuoses. Conseils utiles éclairer la minutie technique de la performance, y compris les coups d'archet particulières, des variants d'humeur et de tempo et des effets artistiques.Auer commence par présenter les oeuvres marquantes de compositeurs âgés de violon italiens tels que Tartini, Corelli et Vivaldi. Il examine les contributions de Bach au répertoire, en plus des oeuvres de Mozart, Haendel, Beethoven, les innovations des derniers jours par des artistes tels que Spohr, Vieuxtemps, et Ernst, et les concertos de Bruch. D'autres compositeurs vedettes comprennent Tchaïkovski, Elgar, Franck, et Sarasate. Ce guide classique se termine par des indications précieuses sur la transcription et de la mémoire musicale. / Violon

Par SAURET EMILE. Émile Sauret, violin virtuoso, teacher and composer, was admired by some of the greatest composers of his time, including Brahms, Tchaikovsky, Bruch, Wagner, Grieg and Mahler. He gave numerous concerts with Liszt, Rubinstein, and Moszkowski, and often played duets with Sarasate. He is predominantly remembered for the fiendishly difficult cadenza he composed to Paganini?s first violin concerto. Sauret?s 24 Etudes Caprices for solo violin are a substantial virtuoso journey through every major and minor key. Written while he was a professor of violin at the Royal Academy of Music in London, they are notable for the exceptional variety of filigree detail and variation in nuance, dynamic, fingering, bowing and phrasing, creating etudes far more substantial than is typical in this genre. Unavailable since their first publication early in the 20th century, the Etudes Caprices are edited by leading violinist and Sauret specialist, Nazrin Rashidova, who has made the first complete recording of the Etudes Caprices, performing them on Sauret?s own Stradivarius. Using the original Simrock edition as a basis, this edition supplements Sauret?s original bowings and fingerings with Rashidova?s own suggestions. An extensive preface gives further insights into performance and contextualizes the life of the composer. / Date parution : 2022-11-29/ Répertoire / Violon