Less than a century ago it was still very common that great violinists like Heifetz, Kreisler, Menuhin etc. played virtuosic pieces in their concerts, very often also their own transcriptions. Nowadays these pieces are unfortunately rarely played in concert halls, sometimes with the reason that this kind of repertoire is “not serious enough”, which I find is really a pity and also not true. Usually violinists study this repertoire at a young age to expand their technical ability on the instrument but afterwards, they tend to focus more on Concertos and Sonatas. I have to admit that the last time I myself played this repertoire was before I was even a teenager, and I had almost forgotten about it.
However, every time I work together with Larry Foster, he is full of stories about Jasha Heifetz from their time together in the 1960s and it is like being taken to another world. Then suddenly the idea came to us; why not make a recording full of these pieces like in the “old days”?
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 00:01:09
Additional information
| Label | |
|---|---|
| SKU | PTC5186536 |
| Qualities | |
| Channels | 2ch Stereo, 5 Channel Surround Sound, 2ch Stereo & 5ch Surround |
| Artists | Arabella Steinbacher, Orchestre Philharmonique de Monte Carlo |
| Composers | Massenet, Ravel, Saint-Saens, Sarasate, Vaughan Williams, Waxman |
| Genres | |
| Mastering Engineer | Polyhymnia |
| Conductors | |
| Instruments | |
| Original Recording Format | |
| Producer | Job Maarse |
| Recording Engineer | Erdo Groot |
| Recording location | Salle Yakov Kreizberg of the Auditorium Rainier III, Monte-Carlo |
| Recording Software | Mergin |
| Recording Type & Bit Rate | DSD64 |
| Release Date | September 2, 2016 |
Press reviews
The Arts Fuse
There’s much to admire, generally, about violinist Arabella Steinbacher’s playing. Her technique is impressive, articulations precise, and tone nicely varied. She clearly understands what she performs and the supple lyricism of her interpretations generally suits the canon well.
She also brings out lots of the hairy details in Ravel’s Tzigane, throwing down muscular fistfuls of notes in the opening cadenza and making reams of hay out of the several passages of double-stop artificial harmonics that pop up throughout the score.
Only logged in customers who have purchased this product may leave a review.
Reviews
There are no reviews yet.