VIEUXTEMPS Works for Violin and Orchestra Souvenir De Russie Old England Duo Brillant Andante Et Rondo

Henry VIEUXTEMPS Works for Violin and Orchestra Souvenir de Russie Old England Duo brillant Andante et rondo Reto Kuppel, Violin Qatar Philharmonic Orchestra Marcus Bosch Henry Vieuxtemps (1820–1881) with soloist, a Romantic fullness evident in the works on this given full virtuosic treatment, including harmonics, double Works for Violin and Orchestra album. This ‘symphonic’ conception of violin solo with and triple stops, and demisemiquaver arpeggios orchestra, while not sacrificing the heritage of the virtuoso accompanying the orchestra’s statement of the theme. A tutti Henry Vieuxtemps, son of a weaver and violin maker, was best-known concertos (Concerto No. 4 in D minor) and school that culminated in Paganini, nevertheless sought to leads to a quiet solo rendering of Sally in Our Alley, a love born in Verviers, near Liège, Belgium on 17 February 1820. formed a string quartet that performed, among other works, create a musical whole, not simply a display piece (though song composed by Henry Carey (1687–1743), a poet, Vieuxtemps began violin instruction with his father at age Beethoven’s last quartets. Leaving Russia in 1852, these works are certainly that as well). Though best known dramatist and songwriter (sometimes credited with God four. Vieuxtemps’ talent was immediately evident, and with Vieuxtemps first settled in Brussels for two years before today for his seven violin concertos (praised in their time by Save the King). Carey’s original tune was soon superseded the support of a local aristocrat he was able to study with a moving to Dreieichenhain, a town near Frankfurt am Main, both Berlioz and Tchaikovsky), Vieuxtemps wrote numerous by a tune known as The Country Lass, and that is the tune professional violinist, Lecloux-Dejonc. Charles de Bériot, a and this remained his ‘home base’ for over a decade. During works, among them two cello concertos, paraphrases on used by Vieuxtemps. The caprice ends with a rousing leading violin virtuoso of the time, heard him play in 1828 his second (1857) US tour, he performed 75 times in less opera tunes, miscellaneous salon pieces, string quartets, a version of The British Grenadiers, a tune of uncertain origin and invited him to study in Brussels. When Bériot traveled to than three months – a gruelling schedule Vieuxtemps later violin sonata, a viola sonata, and solo études. He continued but apparently from the 17th century. Though the tune may Paris in 1828–29, Vieuxtemps accompanied him, making his called a ‘crime against music’. Nevertheless Vieuxtemps the formal innovation in concerto writing of his mentor Bériot, be older, the words cannot be older than 1678, as that is the Paris debut in February 1829. During an 1830 tour of kept up a rigorous concert schedule, performing often in adding a scherzo to his Fourth Concerto and composing the date of the founding of the ‘Grenadier Company’. The Germany and Austria, he met the violinist/composer Louis Paris, London, Russia (again), Stockholm and numerous Fifth Concerto in one continuous movement. Vieuxtemps’ famous tune is first heard softly in the orchestra and then Spohr and heard Beethoven’s Fidelio – both seminal other places. Because of an increasingly difficult political works require the virtuoso’s full technical arsenal: every sort taken up by the soloist; the music growing in intensity until experiences for the young musician. In March 1834 he situation, Vieuxtemps left his home near Frankfurt in 1866 of off-the-string bowing, double and triple-stops, harmonics, the stalwart fortissimo conclusion. performed Beethoven’s Violin Concerto at the Vienna and settled in Paris. His wife died of cholera in 1868, but he lightning speed, and a pure singing tone. Duo brillant, Op. 39, was composed in 1861 (published Musikverein, only the second time the Concerto had been hardly paused in his intense concert schedule. He embarked The Fantaisie, Op. 21 ‘Souvenir de Russie’ (originally in 1864) and first performed by Vieuxtemps and Adrien- performed publicly since Beethoven’s death. After hearing on his third tour of the US in 1870, influenced to accept titled ‘Souvenir de Moscou’), was written and premiered in François Servais (1807–1866). Vieuxtemps had the 14 year old violinist, Schumann wrote in the Neue another US tour in part by the outbreak of the Franco- Russia in 1840. The Fantasy is partially the result of collaborated on an earlier 1855 composition with great Zeitschrift für Musik that Vieuxtemps ‘holds us in a kind of Prussian War; during this American tour Vieuxtemps played Vieuxtemps’ acquaintance with Alexey Nikolayevich success, a violin/cello duet on themes from Meyerbeer’s Les magic circle that encloses us …’ In 1834 Vieuxtemps heard 121 concerts in half a year. In 1871, after having twice before Verstovsky (1799–1862). Vieuxtemps especially admired Huguenots. Walter Kolneder, in his Das Buch der Violine Nicolò Paganini play in London and wrote that ‘my refused formal teaching positions, Vieuxtemps finally Verstovsky’s opera Askold’s Grave (1835), which was the (1972), wrote that Vieuxtemps’ Duo brillant served as the admiration increased to the borders of the improbable’, and accepted a post at the Brussels Conservatoire. His most most popular of his six operas and even rivalled the inspiration for Brahms’ Double Concerto (1887). The Duo no doubt the tremendous technique in Vieuxtemps’ work is famous pupils were Eugène Ysaÿe and Jenö Hubay. In popularity of Glinka’s operas in mid-19th century Russia. brillant is a ‘mini’ double concerto in A major in the usual partly due to the influence of Paganini. Briefly a composition September 1873, while in France for a charity concert to help Vieuxtemps’ work begins with an opening tutti (Andante three movements. The opening movement begins Maestoso student of Anton Reicha, Vieuxtemps composed the first of casualties of the Franco-Prussian War, Vieuxtemps suffered Moderato in B minor), followed by a tuneful melody stated by in the orchestra, followed by a dramatic forte entrance of the his seven violin concertos (Concerto in F sharp minor, a stroke and lost the use of his right arm. He went to live in solo violin, which is elaborated with more virtuosic material violin, the cello soon joining in. The brief opening movement published as No. 2) in 1834. After touring Belgium and Paris with his daughter and son-in-law, gradually returning in two variations. These musical elements are followed by is followed by a lovely Adagio, the theme first stated by cello. Germany in 1836–37, he extended his tour to Russia in to composing and even playing (though not publicly). After tunes derived from the opera: a dance section based on The stately Finale: Allegretto which is longer than both the spring 1837, performing often in St Petersburg. He returned an abortive attempt to return to his classes at the Torop’s song in Act III (When the Breeze Blows); another previous movements combined, features a dual cadenza to Russia in 1839 with his fellow countryman and cellist Conservatoire, he moved to Mustapha Supérieur in Algeria. Torop song from Act III, a romantic Andantino in D major before the rousing finish. Adrien-François Servais. In Russia he completed the The violinist Wilma Norman-Neruda (the dedicatee of his (Near the Town of Slovensk); and an energetic folk dance, Andante et rondo, Op. 28 in E major, was published in Concerto in E major (No. 1), which was much praised by Sixth Concerto) and his old student Hubay visited him in also based on material from Act III (The Goblets Passed 1853 in both violin/orchestra and violin/piano versions. Wagner, Chopin, and Berlioz. In the winter of 1842–43 Algeria, and he composed until the end. In June 1881 he Round the Table). Initially two of Vieuxtemps’ works were designated Opus 29: Vieuxtemps made his first tour of the US, and while in suffered his fourth stroke and died on 6 June 1881. The caprice in G major, Old England, Op. 42, features the Andante et rondo, and the 3 Fantaisies sur Opéras de America composed Souvenir d’Amerique, Op. 17. In 1844 Vieuxtemps was one of a long line of master 19th various English tunes from the 16th and 17th centuries. A Verdi, probably published in 1854. Opus 28 is now the Vieuxtemps married the Viennese pianist Josephine Eder, century-violinist/composers, a line that stretches from Viotti, short orchestral tutti is followed by a solo introduction; this is correct designation for Andante et rondo since it is so listed and two years later accepted the post of court violinist in St Rode, Bériot, and Paganini in the early years of the century followed by a quiet unadorned rendering of The Oak and the in the May 1853 Hofmeister’s Musikalisch-literarischer Petersburg. Though bound to the Russian court by a six-year to Wieniawski, Kreisler and Ysaÿe at the end. Vieuxtemps Ash by solo violin. This tune dates from at least 1608 and Monatsbericht. The lovely opening Andante is followed by contract, he was allowed to give concerts during his annual was a towering figure among these violinist/composers, and perhaps earlier. A song of nostalgia and home, it features the Rondo (Allegro moderato), a sparkling energetic rondo holiday and continued to travel across Europe during this was one of the first to use the full Romantic orchestral palette the chorus: ‘Oh the oak and the ash and the bonnie ivy tree tune varied with contrasting episodes. Russian period. While in Russia, he premiered one of his in the composition of concertos and other orchestrated works / They flourish at home in my own country’. The tune is soon The Air varié Op. 6 in D major, was published in 1837.

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