The piece was written in Clarens, a Swiss resort on the shores of Lake Geneva, where Tchaikovsky had gone to recover from the depression brought on by his disastrous marriage to Antonina Miliukova. He was working on his Piano Sonata in G major but finding it heavy going. Presently he was joined there by his composition pupil, the violinist Iosif Kotek, who had been in Berlin for violin studies with Joseph Joachim. The two played works for violin and piano together, including a violin-and-piano arrangement of Édouard Lalo's Symphonie espagnole, which they may have played through the day after Kotek's arrival. This work may have been the catalyst for the composition of the concerto.[1] Tchaikovsky wrote to his patroness Nadezhda von Meck, "It [the Symphonie espagnole] has a lot of freshness, lightness, of piquant rhythms, of beautiful and excellently harmonized melodies.... He [Lalo], in the same way as Léo Delibes and Bizet, does not strive after profundity, but he carefully avoids routine, seeks out new forms, and thinks more about musical beauty than about observing established traditions, as do the Germans."[2] Tchaikovsky authority Dr. David Brown writes that Tchaikovsky "might almost have been writing the prescription for the violin concerto he himself was about to compose."[3]
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Tchaikovsky made swift, steady progress on the concerto, as by this point in his rest cure he had regained his inspiration, and the work was completed within a month despite the middle movement getting a complete rewrite (a version of the original movement was preserved as the first of the three pieces for violin and piano, Souvenir d'un lieu cher).[4] Since Tchaikovsky was not a violinist, he sought the advice of Kotek on the completion of the solo part.[5] "How lovingly he's busying himself with my concerto!" Tchaikovsky wrote to his brother Anatoly on the day he completed the new slow movement. "It goes without saying that I would have been able to do nothing without him. He plays it marvelously."[6]
Tchaikovsky wanted to dedicate the concerto to Iosif Kotek, but felt constrained by the gossip this would undoubtedly cause about the true nature of his relationship with the younger man. (They were almost certainly lovers at one point, and Tchaikovsky was always at pains to disguise his homosexuality from the general public.)[7] In 1881, he broke with Kotek after the latter refused to play the Violin Concerto, believing it was poorly received and would do damage to his budding career. However, he did dedicate to Kotek the Valse-Scherzo for violin and orchestra, written in 1877, on its publication in 1878.
Warmly as I had championed the symphonic works of the young composer (who was at that time not universally recognized), I could not feel the same enthusiasm for the Violin Concerto, with the exception of the first movement; still less could I place it on the same level as his purely orchestral compositions. I am still of the same opinion. My delay in bringing the concerto before the public was partly due to this doubt in my mind as to its intrinsic worth, and partly that I would have found it necessary, for purely technical reasons, to make some slight alterations in the passages of the solo part. This delicate and difficult task I subsequently undertook, and re-edited the violin solo part, and it is this edition which has been played by me, and also by my pupils, up to the present day. It is incorrect to state that I had declared the concerto in its original form unplayable. What I did say was that some of the passages were not suited to the character of the instrument, and that, however perfectly rendered, they would not sound as well as the composer had imagined. From this purely aesthetic point of view only I found some of it impracticable, and for this reason I re-edited the solo part.
The Polish premiere of the concerto was given in Warsaw on 14 January 1892, with Stanisław Barcewicz on violin and the composer conducting. They also played the Sérénade mélancolique for the first time in Poland on that occasion.[11][12]
December 18, 2006 at 05:39 AM Ok, so maybe I am a little hard on myself. But after being frustrated with the amount of ambiguity in many graded repertoire lists and hearing so many music teachers, professors, and students complain, I have taken it upon myself to create my own graded repertoire (with help from many sources). The criteria for each level is not specific, as that would mean 110 different analyses of each work. However, I have taken into consideration the technique and musicality required to play the pieces (bow control, dexerity, vibrato, flexibility, tone quality, and tempo among other things). For this reason, the Paganini concertos are not higher in level than other, technically easier pieces (such as Barber and Beethoven) for the reason that Barber and Beethoven require more insight and knowledge to play. Tonality is also taken into account. The levels range from 1-13+, 1 being the easiest and + being disgusting. Please feel free to comment, inquire, reject, or add (or some other verb) to this list. I am not perfect, so if I have missed something important, misspelled something, or misjudged a piece, please let me know. Please keep in mind, these are pieces for solo violin and orchestra.
December 19, 2006 at 02:50 AM I have not studied all of the Kreisler pieces in depth. I did mention above that these are somewhat standard concertante works for violin. The Bach S&P are very varied in difficulty. My next idea with the list is to include the solo violin repertoire (as it is not as large as the violin and piano repertoire). I am working hard on my list, but I have 5 AP classes, 2 instruments, swim team, boy scouts, and like 5 clubs to tend to, so this list is what I do in my spare time (yay geeks!!!). In response to the question about order, this is not a method by any means. It is simply my answer to "What can I play next?" or "I need to find something to play at ___ level, soon." I would not suggest learning the pieces in the order I have presented, as I am in no way a pedagogue, but based on opinions collected, I have ranked the pieces based on overall difficulty. For example, the first two movements of the Barber might make it a level 9, however, the third movement is blisteringly difficult. I am going by the assumption that people who start a piece will play the WHOLE piece (including the Intermezzo in Symphonie Espagnol, my favorite movement). These are also subject ot some of my personal experiences. I mentioned before that I can not play fast arpeggios; I failed to mention that beyond two flats, I am lost in terms of key signature (strangely, I can play pieces with all seven sharps OvO^?). That is one reason why Scottish Fantasy and Poeme are higher on the list (not to mention the technique and tone/dynamic control). Besides, if you think about it, no one in their right mind learns all six of Paganini's concertos in a row (if you notice, the list is alphabetical so as not to offend anyone within particular levels).
Kevin, I misplaced the Valse-Scherzo. It should have been in level 10. As for the Paganini concertos, technically, I agree, but musically, I do not. See the revised list. I moved them up. And for the Schubert Fantasy, I saw a performance of it with orchestra. All of the pieces on this list go: w/ orchestra --> w/ piano, or vice-versa. I felt the need to include them, seeing as the list for violin and piano will take a very long time.
December 24, 2006 at 08:12 PM Anne, I could actually use imput similar to that. I never studied the most basic of violin repertoire, so I lack greatg knowledge in that area. If you or anyone else could help me place the student concertos, that would be great.
But still, lists like this are a great help to chose repertoire for you and your students! I haven't played a quarter of it, but I know almost all from listening to competitions and stuff. We violinists have a good time chosing from that rich repertoire. And this is as we all know not even the "complete" list of concertos and etudes.
-concerto-in-c-major-op-48-mc0002357654 and the next line in Sassmannshaus's graded repertoire list mentions a concerto by him with no details, so it's probably referring to the same one (he only published one violin concerto).
The popular violin method book Violin Friends 2 (2021, Suomi Music) combines repertoire, duos, and technical exercises in the same colorful book. Short pieces, etudes, duets, and concertos in a pedagogical order. Major scales are presented with their relative melodic minors, followed by etudes by Franz Wohlfahrt for two players and short pieces in the same key.
Leonid Veniaminovich Feygin (May 6, 1923) Soviet composer, violinist, conductor, arranger. He studied violin with David Oistrakh and composition with N. Myaskovsky and V. Shabalin. He was a nephew of Vera Nabokova-Slonim, wife of the writer Vladimir Nabokov. He was the author of numerous works in almost all musical genres: Opera "Sister Beatrice" (after Maeterlinck, 1963), the ballets "Star Fantasy", "Don Giovanni", "Forty girls"; "Faust", three symphonies (1967, 1974, 1978), concertos for violin, trumpet, two violins and string orchestra, and four quartets, two sonatas for violin and piano pieces for various instruments, vocal works, music for theater productions and films. He was married to Galina Stepanovna Maksimova (1914-2004) 2ff7e9595c
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