Bohuslav Martinů: Rapsodia per viola e orchestra (1952)
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- Опубліковано 3 бер 2014
- Bohuslav Martinů (1890-1959): Rapsodia per viola e orchestra (1952).
I. Moderato
II. Molto adagio - Poco allegro [10:01]
Josef Suk, viola
Czech Philharmonic Orchestra diretta da Václav Neumann.
Cover image: painting by Jan Zrzavy.
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Beautiful music by a Czech composer who was born in the tower of the church in Polička.
I knew Maestro Josef Suk, who plays the viola solo, personally. Grandson of the Czech composer Josef Suk. And the amazing painting of Jan Zrzavý...
A very luxurious gift.
One of my favourite Martinu pieces, full of those shining sounds typical of his late style.
This is a major, significant and very beautiful work for the viola. It should be performed more often.
All Martinu's music should be peroformed more often
THis a beautiful piece of Martinu, which uses wisely the tone and range of the viola. It was written in 1952. It is typical of his last style.
This is really heartwarming peace of music...
❤❤❤
I love this piece - thanks for posting it!
Krásné! Jeden z mých nejoblíbenějších kusů od Martinů.
je to pravda, Martinu na počátku usiluje o slušné naslouchání, pak půjčuje svou krásu a inteligenci kůže, dokud není člověk nevyhnutelně zachycen ve svém vesmíru
Však tato skladba byla moje možná první, kterou jsem od BM slyšel. A drží mě už více než dvacet let...
genial
too beautiful!!
H. 337 in the Halbreich catalogue.
Written between 15 March and 18 April 1952 at the request of Jascha Weissi, viola player of the Cleveland Orchestra and soloist at the work's premiere when performed by the Cleveland Orchestra conducted by Georg Szell.
Merci pour les informations.
This Rhpsody dates from the last period of Martinu's creation. The expression tends to be more directly intense and the writing lighter. Here, the melancholic voice of the viola is outstandingly misxed with the orchestra.
it's easy to compose music when you're a genius.😋
danke!!!
What a great violist, great piece. If only Martinu had written for harp.
This Rhapsody dates from the last creative period of this intense and melancholic composer. The expression tends to be more directly intense and the writing lighter. Here, the melancholic voice of the alto is remarkably staged with the orchestra 😃
nice
This is very good. It takes much from Martinu's earlier Violin Concerto #2, which is excellent. Both pieces should be played more.
Diable que c'est beau !
Oui, c'est un monument que ce concerto ! La belle Vitka n'est-elle pas là, au moment le plus intense, vers 14'...Superbe !
Intro is similar to the slow section from the 3rd movement for Sinfonietta La Jolla, and none the worse for it ;)
Martinů is of course terrific; it's just the viola part. The viola is the most humorless instrument in the orchestra, and a shadow, at that. Even Neumann couldn't make this actually sing.
+WHITECK9 I'm starting to understand the jokes about violas. Violin has immediacy, cello has depth, what's the viola for?
+hexonatapeloop
I'm sure people asked the same question of Mozart, who in later life preferred the viola to the violin. We could try to explain it to you, but we would be unable to understand it for you.
+WHITECK9 Try William Primrose, Emmanuel Vardi, Rivka Golani, Nabuco Imai, Michael Tree, Kim Kashkashian (not Kardashian), Lillian Fuchs, Lionel Tertis, Roberto Diaz, Yuri Basmet, Tabea Zimmerman, Anibal Dos Santos. Gerard Causse, and Pinchas Zukermann, Cecil Aronowitz, Walter Trampler If none of these can convince you, then you've done your duty to the viola, and I've done mine. Enjoy.
It should be noted that this performance is played by someone who is primarily a violinist (and one of the greatest at that IMO.) I don't know a whole lot about the technical challenges faced by a violin player switching to a viola (I'd assume there's not a whole lot of difference) but obviously the timbre is different therefore the player might feel a bit off base. That said I don't have a problem at all with this performance - it sounds great and the lower register of viola is perfect for it. It could also sound great if transposed for a cello, moreso than for a violin.
Rudolf Barshye, Paul Hindemith, Peter Schlidloff