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Felix Mendelssohn-Bartholdy (1809-1847) Concerto for Violin and Orchestra in E Minor, Op. 64 “These concertos by Mendelssohn and Tchaikovsky are part of 1 Allegro molto appassionato 14. 45 the absolute “standard repertoire” usually studied by violinists 2 Andante – Allegretto non troppo 9. 10 at a young age. And to be honest, although I love playing these 3 Allegro molto vivace 6. 02 works regularly in my concerts, I had never before felt the need to record them, unlike other, rarely played repertoire that I have recorded in the past. Peter Ilyich Tchaikovsky (1840-1893) Concerto for Violin and Orchestra in D Major, Op. 35 However, Charles and I have performed the concertos together many times and no matter how often I play them, I realize every 4 Allegro moderato 20. 15 time again that it feels new for each successive performance – 5 Canzonetta – Andante 7. 02 this is the magic of music. 6 Finale – Allegro vivacissimo 10. 46 These are simply such wonderful concertos that I was extremely happy to make this recording with him and the extraordinary Total playing time: 68. 14 Orchestre de la Suisse Romande.” Arabella Steinbacher Arabella Steinbacher, violin Orchestre de la Suisse Romande Conducted by Charles Dutoit Violin thoroughbreds masterful and musical manner FOR the completion of the concerto. During this one could say, fully instrument-based which, due to its positioning between The Viennese music critic Eduard those by Beethoven, Brahms, Dvořák, and collaboration of his former pupil instrument and FOR the violinist, in a time, Mendelssohn worked intensively approach to the composition of the the development and recapitulation, is Hanslick could well and truly lash and, of course, Mendelssohn). For the Iosif Kotik, who stood by him virtually Felix Mendelssohn’s Violin Concerto class of its own among the works of the and scrupulously, honing down or concerto. Mendelssohn completed the already innately classifi ed as an integral into someone, if he felt like it. And he work is popular among soloists and as a “consultative practitioner” as the in E minor, Op. 64 is one of the most 19th century. The audience, because discarding sections, and rewriting work in the summer of 1844 in Bad component of the movement and thus certainly felt like it on December 4, audiences alike (and the same goes work evolved. In just three weeks’ time, important and frequently performed Mendelssohn did not sentence the the concerto, as is demonstrated Soden, where he was recovering from obligatory. Just a single note in the 1881, the night of the Vienna première for Mendelssohn’s concerto), due to its he completed the concerto, following works in the concert repertoire. This soloist to the typical show of virtuoso by the original sketches for the fi rst a strenuous two-month concert tour bassoon then seamlessly introduces of Tchaikovsky’s Violin Concerto in intensity of expression and emotional on directly with the instrumentation. is one of the main reasons why the pomposity as an end in itself: here, the movement. of England. The première on March 13, the slow movement in C major, which D major, Op. 35: “For the fi rst time, range, its distinctive virtuosity and its In the D major concerto, the wonderful rather disrespectful title of (concert) technical diffi culties always support 1845, featuring David as soloist and Nils is dominated by a simple song theme Tchaikovsky leaves us with the horrible high level of technical acrobatics. Only theme breathing passion and longing “Warhorse” is used in this context the cause – in other words, the music. On July 30, 1838 Mendelssohn wrote W. Gade as conductor, was a triumph reminiscent of Mendelssohn’s Songs suspicion that musical works may the (German) musicologists backed is again presented by the solo violin, (as also with regard to Tchaikovsky’s The musicologist, because here the the following to his childhood friend, for the composer, who was not able to without Words. The transitional exist that can be heard to reek!” away from a piece of music that they with the orchestral introduction simply violin concerto). To continue with composer is taking innovative steps Ferdinand David, who later became be present. passage of the solo violin above a string This was followed by other verbal considered to be fl amboyant... “preparing the ground”. The main the equine metaphors, one should in the structural concept and content leader of the Leipzig Gewandhaus accompaniment leading to the fi nale is attacks, all way below the waistline. theme appears in various forms and perhaps describe this great concert design of the work, which makes it Orchestra: “I would like to compose “...the beginning of which is constantly of special beauty: the last movement In Vienna, Russian music did indeed Tchaikovsky composed his Violin is subsequently processed in diverse as an elegant “thoroughbred.” For stand out like a beacon among the a violin concerto for you for next playing in my head.” Indeed, the is a sonata rondo, whose main theme have the dubious reputation of Concerto in Switzerland in the spring manners. Tchaikovsky’s patroness, here, Mendelssohn does not march abundance of violin concertos in the winter: I have one in mind in the key beginning of the fi rst movement is more is assigned to the solo instrument being sentimental, brutal and raw of 1878, immediately following the Nadezhda von Meck, wrote about the through the score in full armour, concert repertoire. Considering all of E minor, the beginning of which is than extraordinary – instead of the tutti following signalling notes in the brass. – however, Hanslick would not have completion of his Symphony No. 4 second movement as follows: “... the staring straight ahead as if wearing these qualifi cations, it is not really constantly playing in my head.” Further exposition that is usual in a concerto, Mendelssohn integrates two other allowed himself to launch such a and his opera Eugene Onegin. In the canzonetta is absolutely magnifi cent. blinkers: no, he subtly keeps his soloists surprising that the E minor Concerto, correspondence between the two the solo violin already begins to play dance-like and cantabile themes into polemic even in the case of his arch- autumn of 1877, he had fl ed to the Such poetry and longing in these ‘sons on a tight rein, alternating in a highly despite giving the impression of being friends demonstrates that Mendelssohn the intimate main theme in the second a polyphonic texture in the form of a enemy Richard Wagner. So, not a wine-growing village of Clarens on the voilés,’ these mysterious sounds!”. And virtuoso and skilful manner between a cohesive composition, was not in continuously consulted David while bar, the “embodiment of seduction delicate question-and-answer game, good start for a work that – since the shores of Lake Geneva after his failed indeed, one seems to hear the moody the various gaits and fi gures. With fact written within a very short period writing the concerto, although the by violin” (Hahn). Clarinets and fl utes the luminous nature of which permits performance in London in April 1882 “marriage experiment” in order to Lensky from Eugene Onegin in this the result that truly everyone loves of time, as it were written in one composer always had the last word on present the second theme above the the “fairy-like poetry” (Kloiber) of his up to the present day – has always retrieve his inner peace. While writing movement, which was written at a the E minor Concerto. The violinist, go: in fact, no less six years passed any decision. This close collaboration high organ point of the violin. Another Midsummer Night’s Dream music to been considered one of the most his violin concerto, the composer was later date (Tchaikovsky had quickly because it was written in an extremely between the fi rst draft and the actual is refl ected in the already mentioned, unusual feature is the solo cadenza shine through. important violin concertos (alongside able to rely on the intensive support rejected his original slow movement, English rewriting it as the Méditation in his which includes double-stop passages, Arabella Steinbacher violin, she appears with leading Born in Munich to a German father and Orchestre de la contemporary music. The orchestra Charles Dutoit Op. 42). But Tchaikovsky leaves no room extremely high registers and fl ageolet international orchestras including the Japanese mother, Arabella Steinbacher has premiered several works by Britten, for any budding sentimentality – the sections. In Hanslick’s opinion, here Violinist Arabella Steinbacher has fi rmly Boston Symphony, London Symphony began studying the violin at the age Suisse Romande Debussy, Honegger, Martin, Milhaud, Captivating audiences throughout the sharp rhythm and stormy tempo of the the violin was no longer being “played, established herself as one of today’s Orchestra, Dresden Staatskapelle, of three. Six years later, she became Stravinsky, Holliger and Eötvös, and world, Charles Dutoit is one of today’s “Russian” (Tchaikovsky) fi nale crashes but rather tormented, torn apart, leading violinists on the international Philharmonia Orchestra, Chicago the youngest violin student to be Founded in 1918 by Ernest Ansermet, commissioned works by William Blank most sought-after conductors, having in abruptly. This movement especially thrashed”. All truly great violinists, concert scene, performing with some Symphony Orchestra, Philadelphia taught by Ana Chumachenko at the the Orchestre de la Suisse Romande and Michael Jarrell, among others. Since performed with all the major orchestras demonstrates why the work was including Arabella Steinbacher, enjoy of the world’s major orchestras. The Orchestra, Leipzig Gewandhaus Munich Academy of Music. In 2001 Ms. (OSR) is an internationally renowned 2000, and in collaboration with Radio on most stages of the fi ve continents.

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