Товар знаходиться на складі в Європі і доставляється 1 - 2 місяці.
Dear listeners,The present CD, entitled The Franco-Belgian Album, as the name indicates, is dedicatedto music for violin and piano by French and Belgian composers from the golden age ofRomanticism. Belgium is represented by Henri Vieuxtemps and César Franck, while Franceis represented by Gabriel Fauré and Camille Saint-Saëns. With the exception of Fauré’sBerceuse Op. 16 and the virtuoso Caprice d’après l’Étude en forme de Valse Op. 52 by Saint-Saëns, which appear frequently in the repertoire of many concert violinists, the Belgianworks, by Vieuxtemps and Franck, respectively, are practically unknown to the public, whichis strange, since they are pieces of great musical and artistic value that quite justly deserveto be played and recorded more. Both pianist João Paulo Santos and I hope that with thisrecording, other musicians will be able to know and appreciate these gems for violin andpiano, and that they will appear more often in concert and on other albums.From an early age, Henri Vieuxtemps (1820-1881) attracted attention as a child prodigy,making his public début as a violinist when he was only six years old. Later, he studied withCharles de Bériot, with whom he moved from Brussels to Paris in 1829. Two years later, hebegan his first concert tour, impressing musicians like Schumann and Paganini. He studiedcomposition with Sechter in Vienna and later with Reicha in Paris, and wrote violin musicfor himself to play during extensive tours that took him to the major cities of Europe andthe United States of America. In 1871 he was named professor at the Brussels Conservatory,where his students included Eugène Ysaÿe. He died in Algeria in 1881, after eight years ofintermittent health issues that impeded him from continuing to perform and teach. Hisbest known works continue to be his Concertos no. 4 and 5 for Violin and Orchestra. Asmentioned above, Vieuxtemps wrote a number of works, including the Grande Sonata forPiano and Violin in D Major Op. 12 (1843) when he was 22 years old. The work was publishedthe following year. Divided into four large movements (Allegro assai, Scherzo (Allegro vivace),Largo, ma non troppo and Rondo (Allegro giocoso)), this is a long score that lasts nearly 40minutes. Its structure is clearly classical and, from the first measures, we see the stronginfluence of Beethoven. In fact, Vieuxtemps spent nearly a decade attempting to revivethe Concerto for Violin Orchestra by the German composer, which was nearly forgotten atthe time. The first movement, in a nod to sonata form, contains multiple ideas and themeswhere, after a substantial development, the initial theme returns in a new tonality, followedby a frenetic Coda. The second movement, a Scherzo á la Beethoven, fulfills the formal requirements:an exposition, a trio with variations, and the return of the exposition. The thirdmovement, a beautiful Largo, is perhaps the most original of all. The violin clearly assumesthe main role throughout its duration and a nearly religious mysticism is palpable. Finally,the last movement, a typical Rondo of the epoch, is based on a group of almost operaticthemes, where the violin and piano trade ideas until the conclusion on a brilliant D Majorchord.
