arryo
,Yugoslavia (Former)
Thành viên từ 14:30, 07/06/04
Đã được 2 người bình chọn  (5.00)
  
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Apomethe ơi, cho mình hỏi cái, mình đã d/l codec rồi nhưng sao vẫn có một số bài không nghe được, VD như track 4 và track 5 của CD này.
Trích từ bài của Apomethe viết lúc 11:46 ngày 02/06/2005:
Để dành sẵn vài album rồi nên có cấm vẫn post như thường 
The substantial changes of expression during the long and complex period that lasted from the closing years of the 16th century right through the period of Romanticism were clearly evident in the uses to which music was put as well.
In the Baroque, instruments had usually been interchangeable but composers of Classical, and still more Romantic music laid down with increasing precision what instruments their works were to be performed by. At the same time, however, the longstanding tradition of writing transcriptions survived, but it came to serve different, and in fact opposite purposes. Baroque transcriptions were clearly designed to serve practical needs connected with the material itself, but later it was a search for better ways to express emotions and win the approval of the widest possible audience that motivated an extensive repertoire of paraphrases, variations and arrangements of popular works. These became so profuse that they often overshadowed the originals. A highly typical example is the near symbiosis that developed between the flute and the violin, which came to share their repertoires in all periods, from Leclair to Schubert, Franck to Prokofiev and Vivaldi to Khachaturian. A natural and consistent parallel development took plan in the instruments. Both found their greatest masters in the 19th century, in Paganini, Briccialdi and Bohm. But this was also the period in which the typical differences in scope offered by the two instruments achieved prominence, making all attempts to imitate one on the other far too complicated. The tremendous boost which Paganini''''s playing gave to composers for the violin, and to the concept of virtuosity as such, found the flute at a juncture when it was undergoing profound structural changes in mechanics, sound and melodic nature.
The majority of the new advances in flute technique found proper expression only in the early 20th century, through avant-garde compositions.
Once the technical innovations and the pur-posefulness of expression had been achieved, flautists turned their attention to the works of the Romantics and this led to the transcriptions of the most famous violin concertos of Paganini and Mendelssohn.Felix Mendelssohn Bartholdy
Violin concerto in E minor, Op. 64
The work is dedicated to a close friend of Mendelssohn''''s the violinist Ferdinand David, to whom Nicolo Paganini also dedicated his virtuoso Moto perpetuo. The Violin Concerto is a late work, which he composed between 1838 and 1844. Its melodic and rhythmic inventiveness and its musical form (which departs from the Classical concerto traditions by assigning the opening theme to the soloist) immediately gave it the status of a masterpiece. The great success of the work and the major role given to the solo flute in the orchestration led one anonymous flautist to request a transcription of the violin part from Mendelssohn. Mendelssohn accepted the commission, but only for the third movement, and with an expressly subdued, piano accompaniment. This version, unfortunately, has been lost, and a flute version of the concerto,
by the flautist Wilhelm Popp (1828-1903), was only published several years after the composer''''s death. More recently there have been several other versions, performed by Andras Adorjan, Jean-Pierre Rampal and Janos Balint, and these succeed in transmitting the atmosphere of this concerto with all its emotional tensions. Balint''''s transcription, which makes use of circular breathing, employs thoroughly up-to-date playing techniques. Violin Concerto in D minor (A 822)
This work, edited by Yehudi Menuhin and first published in 1952, shows how Mendelssohn the composer grew to maturity. He composed it in 1822, when he was 13, and it clearly displays the genius of the boy who had given his first performance at the age of nine and who was twelve when he met Goethe, on whom he left a deep impression. But he was still to go to Paris, where he would study under Cherubini and meet Rossini and Meyerbeer. The melodic invention, modulations, and intensive and fluent expression are all the more enchanting and surprising for all that. Janos Balint''''s, the first transcription of the work, draws on the tradition of polymorphic scoring which had allowed a range of instrumental choice in early periods. Nicolo Paganini
Violin Concerto in B flat minor, "La campanel-la", third movement
"La campanella", a concerto in B flat minor symptomatic of the purest vocal spirit of bel canto inspired by Rossini, made an outstanding impression in Paganini''''s day. It has
enchanted both the general public and a whole range of composers, from the Romantics to the Moderns, who have drawn inspiration from the daring of the piece. Chopin, Liszt, Schumann, Brahms, Beyer, Busoni, Kreisler and Kochanski were all influenced by this capricious, bizarre, tight-rope-walking bravura. The full transcription of the Violin concerto in B flat minor, by Janos Balint and Gian-Luca Petrucci, is the very first flute version of a Paganini work with orchestral accompaniment.
Gian-Luca Petrucci Janos Balint was born in 1961 Hungary. In 1984 he graduated from the flute department of the Liszt Ferenc Academy of Music in Budapest. Between 1981 and 1991 he played the first flute of the Hungarian Radio and Television Symphony Orchestra (Budapest Symphony Orchestra). In 1984, be won the first prize at the international competition in Ancona. He won the scholarship of the Cziffra Foundation in 1986. He has given concerts as a soloist and a chamber musician in practically all the countries of Europe with such partners as Ruggiero Ricci, Gervase de Peyer, Gyorgy Cziffra, Tamas Vasary and Pierre Pierlot. He broadcast on radio and television several times. He has been a guest professor at the Ottorino Respighi Music Academy in Rome since 1987, and regularly gives mastercourses in Assisi, Rome, Reggio Calabria and Perugia. At present, he is a teacher at the Conservatory in Szeged (Hungary).
01. Concerto for Violin and Orchestra No.2 in e minor Op.64 1.Allegro molto appasionato
02. Concerto for Violin and Orchestra No.2 in e minor Op.64 2.Andante
03. Concerto for Violin and Orchestra No.2 in e minor Op.64 3.Allegretto non troppo-Allegro molto vivace
04. Concerto for Violin and Orchestra No. 1 in D minor - 1.Allegro molto
05. Concerto for Violin and Orchestra No. 1 in D minor - 2.Andante
06. Concerto for Violin and Orchestra No. 1 in D minor - 3.Allegro
07. La campanella - Rondo a la clochette
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 Gửi lúc 07:37, 28/06/05
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