With the BBC Symphony Orchestra Under Edward Gardner
William Walton wrote his Viola Concerto in 1929 for the violist Lionel Tertis, at the suggestion of Sir Thomas Beecham. It is my understanding that Tertis rejected the work simply by returning it without comment, though it is assumed that he found the piece to be too modernist. After hearing the piece performed he realised the terrible mistake he had made in rebuffing this masterpiece and wrote something very nice to Walton to that effect. Looking at the score, Walton plays a lot on the major–minor conflict, and uses a few pungent harmonies, so it is understandable that someone at the time might have concluded that it was a bit of a ‘modern’ work. However, on hearing the music the overriding impression is one of great Romanticism. I think that is why the music caught the attention of the public when it was premiered, and why it has become such a beloved part of the repertoire. It is a very moving and poignant piece.
Diese Geschichte stammt aus der September 2017-Ausgabe von The Strad.
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Diese Geschichte stammt aus der September 2017-Ausgabe von The Strad.
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Recital For The Ages
Jascha Heifetz made his US debut a hundred years ago. The recital sealed the 16-year-old’s reputation as an astonishing and unruffled performer, set a new bar for violin playing and led to a season full of engagements and a recording contract.
I Have To Appraise You Like I should
I have to appraise you like I should With the value of top-end instruments skyrocketing, should violin appraisers require a qualification to demonstrate their expertise? Insurers, dealers and experts all give their views
Turkish Delights
Fewer than 20 years after its foundation, the Borusan Istanbul Symphony Orchestra is taking its place on the world stage. Tom Stewart finds out more as the ensemble – and two top soloists – prepare for a new season and a European tour
A Landmark Celebration
Running from 8 to 29 October, the Beijing Music Festival celebrated its 20-year milestone in 2017. Nancy Pellegrini looks at two of the event’s highlights: the ten-hour orchestral marathon and violinist Maxim Vengerov’s world premiere
Dual Inspiration
Cellist Sol Gabetta recalls the genesis of her new recording, a collaboration with mezzo-soprano Cecilia Bartoli – and how their disparate talents played offeach other
Jean-Guihen Queyras
For the French cellist, Haydn’s Concerto no.1 in C major brings back fond memories of an early tutor and a precious Rogeri cello
Freedom Of Expression
In the run-up to Germany's federal election in September, freelance music teachers are campaigning to be treated the same way as full-time professors - but the drive for recognition is proving a struggle.
‘Solo Playing Is Essential To The Identity Of The Section'
For berlin philharmonic first principal bassist matthew McDonald, the search to find his voice as a player has been inextricably entwined with the sound of the orchestra and its emphasis on individualistic playing. In converstion with Chole Cutts, he discusses the elusive processes behind his approach to his instrument.
Adventures in Repertoire
Three decades as artistic director of the Australian Chamber Orchestra have taught Richard Tognetti that necessity is the mother of invention, and invention is essential to the health of classical music. Chloe Cutts meets the Antipodean violinist in Sydney to talk commissions, modern string playing and the survival of contemporary repertoire
Luthier Borja Bernabeu
I ’ve been based in Cremona for almost 20 years; I came for a visit and just stayed on.
