"A musician cannot move others unless he too is moved.
He must of necessity feel all of the affects that he hopes
to arouse in his audience, for the revealing of his own
humor will stimulate a like humor in the listener."
AUTHOR: Carl Philipp Emanuel Bach
"If the composer does not feel the music inside
himself first he can not convey those feelings
to the audience through his music."
COMPOSER
HAYDN
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| Raul Dufy: Le Violin Rouge, 1848 |
HOB. VIIa:4
Complete
Simon Standage, Violin
I: Allegro moderato
II: Adagio
III: Allegro
https://www.youtube.com/watch?v=pBr7N6EnstA
HOB. VIIa:4
I: Allegro moderato
Christian Tetzlaff, Violin
Heinrich Schiff, Conductor
Northern Sinfonia Orchestra
https://www.youtube.com/watch?v=pBr7N6EnstA
 |
| http://barlicadpho.blog.com/2015/02/13/haydn-g-major-violin-concerto/ |
HOB. VIIa:4
II: Adagio
Christian Tetzlaff, Violin
Heinrich Schiff, Conductor
Northern Sinfonia Orchestra
VIOLIN CONCERTO NO. 4
HOB. VIIa:4
III: Allegro
Christian Tetzlaff, Violin
Heinrich Schiff, Conductor
 |
| Stradivarius Violin |
Haydn wrote this solo
G Major violin concerto
for Luigi Tomasini (1741-1808)
his friend and the concertmaster
of the Esterházy orchestra. The
music is elaborate and virtuosic,
without being exhibitionistic or
theatrical. Its opening movement
has the solo writing flowing naturally
and abuntantly out of the initial orchestral
music introduction. The slow movement
(as is often the case in an eighteenth-
century concerto) is an aria without words
with the orchestra staying discreetly in
the background so that the spotlight is
able to fall on the violin's gentle,
ornamental melody. Ending the concerto
is a lighthearted finale spiked with a
little of Haydn's humor.
https://cso.org/uploadedfiles/1_Tickets_and_Events/
Program_Notes/102010_ProgramNotes_Shaham.pdf
G Major violin concerto
for Luigi Tomasini (1741-1808)
his friend and the concertmaster
of the Esterházy orchestra. The
music is elaborate and virtuosic,
without being exhibitionistic or
theatrical. Its opening movement
has the solo writing flowing naturally
and abuntantly out of the initial orchestral
music introduction. The slow movement
(as is often the case in an eighteenth-
century concerto) is an aria without words
with the orchestra staying discreetly in
the background so that the spotlight is
able to fall on the violin's gentle,
ornamental melody. Ending the concerto
is a lighthearted finale spiked with a
little of Haydn's humor.
https://cso.org/uploadedfiles/1_Tickets_and_Events/
Program_Notes/102010_ProgramNotes_Shaham.pdf
 |
| Suzanne Valadon: The Violin Case, 1923 |
LINKS
https://cso.org/uploadedfiles/1_Tickets_and_Events/
Program_Notes/102010_ProgramNotes_Shaham.pdf
http://imslp.org/wiki/Violin_Concerto_in_G_major,_Hob.VIIa:4_%28Haydn,_Joseph%29
http://javanese.imslp.info/files/imglnks/usimg/0/0c/IMSLP31661
PMLP72042-Haydn_2eme_cto_violon_sol_maj__Violon_.pdf
http://pronetoviolins.blogspot.com/2009_06_01_archive.html
https://cso.org/uploadedfiles/1_Tickets_and_Events/
Program_Notes/102010_ProgramNotes_Shaham.pdf
http://imslp.org/wiki/Violin_Concerto_in_G_major,_Hob.VIIa:4_%28Haydn,_Joseph%29
http://javanese.imslp.info/files/imglnks/usimg/0/0c/IMSLP31661
PMLP72042-Haydn_2eme_cto_violon_sol_maj__Violon_.pdf
http://pronetoviolins.blogspot.com/2009_06_01_archive.html
 |
| Orazio Gentileschi: Young Woman with a Violin |
