Various Artists / Dvořák, Khachaturian Violin Concertos (Rachel Barton Pine, Violin)
Album: | Dvořák, Khachaturian Violin Concertos (Rachel Barton Pine, Violin) | Collection: | Classical | |
Artist: | Various Artists | Added: | Oct 2021 | |
Label: | Avie Records |
A-File Activity
Add Date: | 2022-02-26 | Pull Date: | 2022-04-30 | Charts: | Classical/Experimental |
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Recent Airplay
1. | Aug 22, 2023: | ModernTekNews
Violin Concerto in A Minor, Op. 53. I (11:38) |
Album Review
Gary Lemco
Reviewed 2021-10-30
Reviewed 2021-10-30
Dvorak, Antonin: Violin Concerto in A minor, Op. 53; Khachaturian, Aram: Violin Concerto (Rachel Barton Pine, violin)
Label: Avie, 2019
Gary Lemco Reviewed: 2020-04-10 Genre: Classical
Rachel Burton Pine performs two “ethnic” concertos, respectively, from Czech and Armenian roots. The 1882 Dvorak Concerto in A Minor differs in some respects from the traditional concept: the first movement, powerfully lyric, has no major tuttis (large orchestral sections) or a major solo cadenza for the violin. The first movement segues directly into the wonderfully songful Adagio, much as Mendelssohn had set the model. The last movement takes the form of a Czech folk dance, the “Furiant,” as a source for its rhythmic competition of duple and triple meters. The sonority of the Finale resembles bagpipes, while the middle section takes its form from the Czech “dumka,” a sad dance in shifting rhythm. By the end of the concerto, the tone has become heroic, having moved into the parallel A Major.
Aram Khachaturian conceived his D Minor Violin Concerto in 1940, specifically with Russian violinist David Oistrakh in mind. Oistrakh’s cadenza is still favored by contemporary performers of the concerto. The opening Allegro con fermezza projects strong, infectious rhythms and buoyant energy, signs of the composer’s anticipation at the time for the birth of his son. The use of special, percussive colors, like cymbals and jarring cadences, typifies the Armenian influence in the work. The colors of Eastern music saturate the texture: modal harmony, re-tuned strings, melismatic and highly vocal melodic lines, and indirect quotes from folk airs from Georgia, the Caucasus, Azerbaijan, and gypsy impulses collide and harmonize in a fervent mix. The second movement, Andante, uses a bassoon to introduce a languorous melody. The solo is muted to suggest an exotic aura. The last movement, Allegro vivace, is a wild dance virtuosic, enthusiastic, and deliberately “oriental.”
Dvorak: Violin Concerto in A Minor, Op. 53 1. Allegro ma non troppo (11:38) 2. Adagio ma non troppo (10:54) 3. Finale: Allegro giocoso ma non troppo (10:32)
Khachaturian: Violin Concerto in D Minor 4. Allegro con fermezza (16:07) 5. Andante sostenuto (13:47) 6. Allegro vivace (10:14)
Gary Lemco Reviewed: 2020-04-10 Genre: Classical
Rachel Burton Pine performs two “ethnic” concertos, respectively, from Czech and Armenian roots. The 1882 Dvorak Concerto in A Minor differs in some respects from the traditional concept: the first movement, powerfully lyric, has no major tuttis (large orchestral sections) or a major solo cadenza for the violin. The first movement segues directly into the wonderfully songful Adagio, much as Mendelssohn had set the model. The last movement takes the form of a Czech folk dance, the “Furiant,” as a source for its rhythmic competition of duple and triple meters. The sonority of the Finale resembles bagpipes, while the middle section takes its form from the Czech “dumka,” a sad dance in shifting rhythm. By the end of the concerto, the tone has become heroic, having moved into the parallel A Major.
Aram Khachaturian conceived his D Minor Violin Concerto in 1940, specifically with Russian violinist David Oistrakh in mind. Oistrakh’s cadenza is still favored by contemporary performers of the concerto. The opening Allegro con fermezza projects strong, infectious rhythms and buoyant energy, signs of the composer’s anticipation at the time for the birth of his son. The use of special, percussive colors, like cymbals and jarring cadences, typifies the Armenian influence in the work. The colors of Eastern music saturate the texture: modal harmony, re-tuned strings, melismatic and highly vocal melodic lines, and indirect quotes from folk airs from Georgia, the Caucasus, Azerbaijan, and gypsy impulses collide and harmonize in a fervent mix. The second movement, Andante, uses a bassoon to introduce a languorous melody. The solo is muted to suggest an exotic aura. The last movement, Allegro vivace, is a wild dance virtuosic, enthusiastic, and deliberately “oriental.”
Dvorak: Violin Concerto in A Minor, Op. 53 1. Allegro ma non troppo (11:38) 2. Adagio ma non troppo (10:54) 3. Finale: Allegro giocoso ma non troppo (10:32)
Khachaturian: Violin Concerto in D Minor 4. Allegro con fermezza (16:07) 5. Andante sostenuto (13:47) 6. Allegro vivace (10:14)
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