CHANNEL CLASSICS CCS 40719

NING FENG PAGANINI&VIEUXTEMPS VIRTUOSISMO ORQUESTA SINFÓNICA DEL PRINCIPADO DE ASTURIAS ROSSEN MILANOV CONDUCTOR (photo: Lawrence Tsang) 2 NING FENG returns to the Shanghai Symphony Orchestra under the baton of . “Ning Feng’s total mastery could be seen in the In recital and Ning Feng precision and sweep of his bow, and heard in the regularly performs with Igor Levit and Daniel effortless tonal range, from sweet to sumptuous.” Müller-Schott, amongst others, and in 2012 Herald - founded the Dragon Quartet. He appears at major venues and festivals such as the in Ning Feng is recognised internationally as an artist , the Concertgebouw Amsterdam, National of great lyricism, innate musicality and stunning Centre for Performing Arts () as well as the virtuosity. Blessed with an impeccable technique Schubertiade, Mecklenburg-Vorpommern and Hong and a silken tone, his palette of colours ranges from Kong International Chamber Music Festivals. intimate delicacy to a ferocious intensity. The Berlin Born in Chengdu, , Ning Feng studied at based Chinese violinist performs across the globe the Sichuan Conservatory of Music, the Hanns Eisler with major orchestras and conductors, in recital School of Music (Berlin) with and and chamber concerts. the (London) with Hu Kun Recent successes have included a return to where he was the first student ever to be awarded the Budapest Festival Orchestra with Iván Fischer 100% for his final recital. The recipient of prizes at in Budapest and on tour to China performing the Hanover International, Queen Elisabeth and Dutilleux L’arbre des songes, tours with the Hong International violin competitions, Kong Philharmonic Orchestra and Jaap van Zweden Ning Feng was First Prize winner of the 2005 to Europe, Asia and Australia, concerts with the Michael Hill International Violin Competition Konzerthausorchester Berlin and Lawrence Foster (New Zealand), and in 2006 won first prize in the in Berlin and China as well as concerts in Brazil International Paganini Competition. He teaches at and on tour to the Far East with the São Paulo the Hanns Eisler School of Music in Berlin, the Royal Symphony Orchestra and Marin Alsop. Further Northern College of Music in Manchester and the recent highlights include successful debuts with the Central Conservatory of Music in Beijing. and Xian Zhang, National Ning Feng plays a 1721 Stradivari violin, known Symphony Orchestra and Gianandrea Noseda, as the ‘MacMillan’, on private loan, kindly arranged by Frankfurt Radio Symphony and City of Birmingham Premiere Performances of Hong Kong, and plays on Symphony Orchestra with Mirga Gražinytė-Tyla and strings by Thomastik-Infeld, Vienna.

3 ROSSEN MILANOV Director of the nationally recognized training orchestra Symphony in C in New Jersey, and in Respected and admired by audiences and musicians 2013 a 17-year tenure with the New Symphony alike, Rossen Milanov is currently Music Director of Orchestra in his native city of , . His the Columbus Symphony Orchestra, Chautauqua passion for new music has resulted in numerous Symphony Orchestra, Princeton Symphony Orches­ world premieres of works by composers such tra and the Spanish ensemble Orquesta Sinfónica as Derek Bermel, Mason Bates, Caroline Shaw, del Principado de Asturias. Phillip Glass, , Nicolas Maw, and Rossen Milanov has gained a considerable Gabriel Prokofiev. national and international reputation, appearing Noted for his versatility, Milanov is also a with the symphony orchestras of Colorado, Detroit, welcomed presence in the world of and Indianapolis, Milwaukee, Baltimore andSeattle, with ballet. He has collaborated with Komische Oper the Fort Worth Symphonies and the National Berlin in Shostakovich’s Lady Macbeth of Mtzensk, Symphony Orchestra (at the Kennedy Center); Opera Oviedo with the Spanish premiere of during Link Up educational projects he conducted Tchaikovsky’s Mazeppa and Bartók’s Bluebeard’s the Orchestra of St. Luke’s at Carnegie Hall and Castle (which gained an award as the best Spanish the Civic Orchestra in Chicago. production in 2015), and with Opera Columbus Milanov has worked internationally with the (Verdi’s La Traviata). BBC Symphony Orchestra, Orchestra de la Suisse An experienced ballet conductor, Milanov Romande, Rotterdam Philharmonic, Aalborg, Latvian has been seen at New York City Ballet and has and Hungarian national symphony orchestras, Slove­ collaborated with some of the best known nian Radio Symphony Orchestra, as well as with choreographers of our time, including Mats Ek orchestras in Canada, South Africa, , Colom­ and Benjamin Millepied and most recently Alexei bia, Brazil and New Zealand. In the Far East he has Ratmansky (in the critically acclaimed revival of Swan appeared with NHK, Sapporo, Tokyo, Singapore­ Lake in Zurich with Zurich Ballet), and with La Scala Symphonies, Malaysian and Hong Kong Philharmo­ Ballet in Paris. nics, and at the Hyogo Performing Arts Center. In 2017, Rossen Milanov was recipient of an Arts The many pre-eminent international artists with Prize from the Columbus Foundation. Under his whom Rossen Milanov has collaborated include leadership the Symphony has expanded its reach by Yo-Yo Ma, , , Goto, connecting original programming with community- , and André Watts. During his wide initiatives focusing on themes ranging from eleven-year tenure with The Orchestra, women composers to nature conservancy. Outof- Milanov conducted more than 200 performances. In the-box festival programmes and the commissioning 2015, he completed a 15-year tenure as Music of new music are among his trademarks. 4 Rossen Milanov 5 In Princeton Milanov celebrates his tenth and Latin America. Its primary activity revolves anniversary as Music Director by collaborating around the concert seasons it offers each year with creative artists such as Daniel Rowland, Inon in the cities of Oviedo, Gijón and Avilés – seasons Barnatan, and Derek Bermel. that have featured some of the most important Rossen Milanov studied conducting at the Curtis soloists and conductors on the international scene, Institute of Music and the Juilliard School, where he alongside its own succession of musical directors: received the Memorial Scholarship. Jesse Levine, Maximiano Valdés and, most recently, A passionate chef, he often dedicates his culi­ Rossen Milanov, who assumed the directorship nary talents to various charities. in 2012. The OSPA’s appearances outside the regular season include performances that have become ORQUESTA SINFÓNICA eagerly anticipated fixtures on programmes such DEL PRINCIPADO as the opening gala of the Princess of Asturias DE ASTURAS Awards and the traditional annual Christmas Concert – the latter in close collaboration with the The Symphony Orchestra of the Principality of Princess of Asturias Foundation Choir in recent Asturias (OSPA) was founded in 1991 under the years – not to mention the Orchestra’s essential auspices of the Government of the Principality role in the opera season of the Asturian Friends of of Asturias. Its main objective is the cultural and the Opera Association. musical enrichment of the region, and King Felipe In Asturias the Orchestra’s intensive social and VI of serves as the group’s honorary educational outreach work is expanding year on president. The OSPA operates as an independent year and warmly received in every locale they visit. branch of the Ministry of Education and Culture Amongst the OSPA’s most lauded activities is its and is a member of the Spanish Association of noteworthy collaboration as a partner orchestra in Symphony Orchestras (AEOS). Carnegie Hall’s Link Up programme, making it the Having inherited the legacy of the former first European and first Spanish-language institution Pro­­vin­cial Symphonic Orchestra, with origins to participate, reaching schoolchildren across dating back to 1939, as well as that of the later Asturias. Symphony Orchestra of Asturias, the OSPA today Outside the Principality, the Orchestra has is re­nown­ed both within Asturias and around the performed at the most important venues and world for its versatility, interpretive powers and concert halls on the Spanish musical landscape. It undisputed musical quality. has collaborated with the Bilbao Friends of the The OSPA is made up of 69 professional Opera Association and has appeared at major musicians from the EU, , the summer events including the Santander, Granada 6 Recording session (photo: Channel Classics) 7 Recording session (photo: Channel Classics)

8 Music & Dance and Alicante Contemporary the 2012-13 season they recorded Stravinsky’s Music Festivals. The OSPA is also a regular guest Petrushka and Falla’s Three-Cornered Hat for Classic at the Cuenca Sacred Music Week and Bilbao’s Concert Records (the first CD in their Diaghilev & Musika-Música Festival. the Ballets Russes series). In both 2015 and 2017, Highlights on the Orchestra’s international Channel Classics Records recorded the Orchestra touring calendar have included their 1996 with violinist Ning Feng in Asturias. The first CD per­formances in Mexico and Chile, where they entitled «Apasionado» (2016) with works by would return just two years later. Also in 1998, the Sarasate, Lalo, Ravel and Bizet received excellent OSPA participated in the Lorient Interceltic Festival reviews in newspapers and magazines around the in . A third trip to Mexico in 2007 brought world. Audiophile Audition wrote “The convergence great critical acclaim, and at the end of that year of Eastern European conductor and Spanish orchestra the Orchestra travelled to China as part of the certainly nails down both musical strains in this nation’s Year of Spain activities. In November of program, providing properly atmospheric support 2011 they performed a concert for Pope Benedict to Feng’s virtuoso fiddling. (...) violinistic fireworks by XVI at the Vatican’s Paul VI Audience Hall with the carload.” In June 2017 this second CD ‘Virtuoso’ support from the María Cristina Masaveu Peterson with Ning Feng was recorded; Vieuxtemps Foundation. With that extraordinary concert, the for violin nº 4 in D minor, op. 31 and Paganini Con­ OSPA became the first ever public Spanish certo for violin nº 1 in D major, op. 6. Also by the orchestra to perform in the Hall. A successful tour label Channel Classics. of Bulgaria followed in June of 2014, earning the The OSPA has been instrumental in the orchestra excellent reviews in both Sofia and Varna. recovery of several works of Spanish musical The OSPA’s recording career began with a heritage for the stage, amongst them Tomás focus on Asturian music, featuring works by such Bretón’s Covadonga and Los amantes de Teruel (The Asturian composers as Benito Lauret, Julián Orbón Lovers of Teruel), as well as the Baroque zarzuela and Ramón Prada. They have also recorded for El imposible mayor en amor, le vence amor (Love Artek and Naxos, the latter label releasing their Conquers All) by Sebastián Durón. They have also albums of music by and Joaquín revived 19th-century Spanish symphonic works Rodrigo, which earned excellent reviews. During by composers including Pedro Miguel Marqués.

Translation: Ray Granlund

9 10 Recording session (photo: Channel Classics)

11 A VIOLIN MAGICIAN himself, sometimes for fifteen hours a day, in 1797 FROM GENUA he embarked on a triumphant tour of Europe which went on for years. His performance of Music played by strings is often felt to be soothing, tender pieces moved many listeners to tears. That enchanting and romantic. In Greek mythology, Europe was at Paganini’s feet might be dismissed, Euridice succumbed to the charms of Orpheus as as it has often been, as mass hysteria. But there he sang and played on the lier, and in the Old were prominent figures among those ‘hysterics’: Testament David played on the harp to drive away Schubert, Goethe, Rossini, Chopin, Schumann, the evil thoughts of King Saul. In many and Meyerbeer, Liszt and Berlioz. Schumann, who was plays in which a lover serenades his beloved, the in doubt for years about whether to pursue a hero accompanies himself on the guitar or career as a musician or as a man of letters, finally mandolin. In medieval times, however, some string decided to become a composer after hearing instruments were already believed to possess Paganini play in Frankfurt am Main in 1829. And sinister powers. In the ‘Danse Macabre’ (Dance of Franz Liszt was so beside himself after a recital by Death), for example, the possessed fiddler sold his Paganini in Paris that he went into hiding for weeks soul to the devil in exchange for ‘hellish’ musical to work frenetically on his own pianistic perfection. skills. Similar things were said of the great Paganini composed all his pieces for violin and nineteenth-century violin virtuoso Niccolò orchestra for his own use, keeping them secretly Paganini. From his first spectacular performance stowed away. Consequently, most were published this eleven-year-old violin prodigy took and only after his death, and some not until recent the rest of Europe by storm. His success as a decades. The first of his six violin is a virtuoso was due both to his mysterious, demonic virtuosic tour de force, demonstrating not only his aura and to his unsurpassed technique, with incredible technical command but also his great countless double stops, flageolets, pizzicatos, and talent for melody and drama. It breathes the spirit his habit of playing only on the G string. A Viennese of Rossini, whose operas were enormously popular critic claimed to have seen how the devil himself at the time. Originally composed in the key of E wielded Paganini’s bow on stage. And in almost all flat major, Paganini tuned his violin a semitone up writings about him, even the most reticent and so that he could play in D major, as it were, and recent, one term always crops up: the wizard. Many thus execute complicated double stops that are considered him to be the best violinist of their age. impossible in E flat while producing a brighter In 1795 Paganini left his birthplace Genua to sound from his instrument. It was partly for this study in Parma, but the violin teachers there reason that contemporaries said the concerto was realised that there was nothing more they could ‘unplayable’. Today the work is always performed in teach him. After an intensive period teaching D major. 12 THE MELODIOUSNESS AND 31, on this recording, was Vieuxtemps’ own favourite VIRTUOSITY OF VIEUXTEMPS concerto. He composed it when employed as a court violinist in Saint Petersburg (1846-1851). The next piece was written by the son of a weaver, Notable is the extensive introduction to the first amateur violinist and violin maker from Belgian movement, lasting some five minutes, with promi­ ­ Ver­viers named Henri Vieuxtemps (1820-1882). nent roles for the winds, brass and timpani. Not until A child prodigy, he enjoyed an outstanding career as this splendid earnestness (in moderate tempo) ends a violinist from the age of six, studying in Vienna and does the soloist enter with a declamatory melody, Paris (with Charles de Bériot) and touring Europe, followed by virtuosic double stopping which leads Russia and the USA. From 1871 he was an influential into exchanges of lyrical and fervent moods. After a teacher at the Brussels conservatory, where his long and turbulent cadenza, and a somewhat severe pupils included Eugène Ysaÿe. But within two orchestral response, a sustained note on the horn years, in 1873, a stroke caused lameness in his forms a transition to the slow second movement, right arm, and Vieuxtemps was forced to withdraw Adagio religioso. Such religiously flavoured slow from teaching. He spent his final years composing movements, like orchestral prayers, were typical of in a sanatorium in Algeria, where his daughter had French and Belgian music of the mid-nineteenth settled with her husband. Vieuxtemps was greatly century. Here we listen to one of the best examples, admired by contempories such as Berlioz and a prayer on the violin full of surrender and ecstasy. Paganini, whom he met in London. When Robert Then, inevitably, the lively Scherzo bursts in, a brilliant Schumann heard him in Leipzig in 1834, he des­ and assertive movement reminiscent of certain cribed the fourteen-year-old’s playing as magical acrobatic violin pieces by Saint-Saëns. Subsequently and compared him with Paganini. the chorale-like opening of the concerto returns, That was during a tour of and , though incompletely, since the orchestra soon when Vieuxtemps was accompanied by his father. swerves into a festive march and the Finale proper. After playing Beethoven’s Violin Concerto in Vienna, The soloist once more waits his turn, entering later he decided to stay there for some time to study with a kind of recitative before taking up the march composition with Simon Sechter, under whom theme and embellishing it with virtuosic passage­ Anton Bruckner was later to study counterpoint. work and double stopping. It even seems as though After his London debut in 1834, Vieuxtemps pur­ the violin infuses the march music with lyrical ingre­ sued his composition studies with Anton Reicha dients, as if trying to pacify it for a moment. Entirely in Paris, the fruits of which are particularly evident according to expectation, the march comes to the in his First Violin Concerto, dating from 1836 (and fore once again, bringing the concerto to an impo­ later published as no. 2). sing and victorious conclusion. The Fourth Violin Concerto in D minor opus Clemens Romijn 13 ZAUBERGEIGER AUS GENUA jedoch meinten, ihm nichts mehr beibringen zu können. Nach einer Zeit des intensiven Selbst­ Der Klang von Saiteninstrumenten gilt als tröstlich, studiums von bis zu fünfzehn Stunden am Tag, berührend und romantisch. In der griechischen begann 1797 sein jahrelanger Siegeszug durch Mythologie erlag Eurydike dem Charme von Europa. Mit seinen gefühlvollen Interpretationen Orpheus’ Lyra und Gesang, und im Alten Testament brachte er zahlreiche Zuhörer zum Weinen. Dass spielte David Harfe, um die bösen Gedanken von ganz Europa Paganini zu Füßen lag, könnte man König Saul zu vertreiben. In vielen Opern und – was häufig getan wurde – als Massenhysterie Theaterstücken, in denen ein Liebhaber seiner abtun. Doch unter diesen „Hysterikern“ befanden Geliebten ein Ständchen bringt, begleitet sich der sich keine Geringeren als Schubert, Goethe, Held auf der Gitarre oder Mandoline. Doch bereits Rossini, Chopin, Schumann, Meyerbeer, Liszt und im Mittelalter wurden einigen Saiteninstrumenten Berlioz. Für Schumann, der jahrelang zweifelte, ob dämonische Mächte zugeschrieben. Man denke er Musiker oder Schriftsteller werden sollte, war etwa an den Danse Macabre, in dem ein beses­ ein Auftritt Paganinis im Jahr 1829 in Frankfurt am sener Fiedler seine Seele im Tausch gegen über­ Main der Anlass, sich endgültig fürs Komponieren natürliche Virtuosität dem Teufel verkauft. Ähnliche zu entscheiden. Und Franz Liszt war nach einem Legenden rankten sich im 19. Jahrhundert um den Konzert Paganinis in Paris völlig durcheinander, zog großen Violinvirtuosen Niccolò Paganini. Von sich zurück und war wochenlang für niemanden zu seinem ersten spektakulären Auftritt als Elfjähriger sprechen, um wie ein Verrückter an seiner pianisti­ an eroberte der Wundergeiger Italien und dann schen Perfektion zu arbeiten. den Rest Europas. Paganinis Erfolg als Geigen­ Paganini schrieb seine Werke für Violine und virtuose beruhte einerseits auf seiner geheimnis­ Orchester für den eigenen Gebrauch und vollen und dämonischen Ausstrahlung, andererseits bewahrte sie sorgfältig in seinem Vorratsschrank auf seiner unvergleichlichen Spieltechnik mit un­ auf. Gedruckt wurden die meisten seiner Werke zähligen Doppelgriffen, Flageoletts, Pizzicati und erst nach seinem Tod, einige sogar erst in den dem Spielen nur auf der G-Saite. Ein Wiener letzten Jahrzehnten. Das erste von Paganinis sechs Kritiker behauptete, mit eigenen Augen gesehen zu Violinkonzerten ist eine virtuose Tour de Force, mit haben, wie der Teufel Paganinis Bogen führte. Und der er seine unglaublichen geigentechnischen in fast allen Schriften über Paganini, einschließlich Fertigkeiten sowie seine große Begabung für der fundierten neueren, wird der Begriff „Teufels­ Melodie und Drama unter Beweis stellte. Es atmet geiger“ immer wieder verwendet. Viele hielten ihn den Geist Rossinis, dessen Opern damals sehr für den besten Geiger aller Zeiten. beliebt waren. Ursprünglich komponierte Paganini 1795 war Paganini von seiner Heimatstadt das Konzert in Es-Dur, wobei er die Geige einen Genua nach Parma gezogen, wo die Geigenlehrer Halbton höher stimmte und seinen Part in D-Dur 14 spielte. Das ermöglichte nicht nur komplizierte Dies geschah auf einer Tournee, die Vieuxtemps, Doppelgriffe, die in Es-Dur unmöglich wären, begleitet von seinem Vater, durch Deutschland und sondern verlieh der Geige auch einen brillanteren Österreich unternahm. Nachdem er Beethovens Klang und war außerdem einer der Gründe, Violinkonzert in Wien aufgeführt hatte, beschloss weshalb seine Zeitgenossen das Konzert für er, sich dort vorübergehend niederzulassen und „unspielbar“ hielten. Heute ist es üblich, das Werk Komposition bei Simon Sechter zu studieren, bei in D-Dur zu spielen. dem später auch Anton Bruckner Kontrapunkt studieren sollte. Nach seinem Londoner Debüt im Jahr 1834 setzte er sein Kompositionsstudium bei Anton Reicha in Paris fort, was 1836 in Form VIEUXTEMPS GESANGLICHKEIT seines Erstes Violinkonzerts (später als Nr. 2 UND VIRTUOSITÄT veröffentlicht) Früchte trug. Das hier eingespielte Vierte Violinkonzert in Das nächste Werk stammt vom Sohn eines d-Moll op. 31 war Vieuxtemps’ eigenes Lieblings­ Webers, Hobbygeigers und Geigenbauers aus der konzert. Er schrieb es in seiner Zeit als Hofgeiger belgischen Stadt Verviers. Sein Name ist Henri in St. Petersburg (1846-1851). Auffällig ist im ersten Vieuxtemps (1820-1882). Er war ein Wunderkind, Satz die lange Einleitung von etwa fünf Minuten, in begann bereits im sechsten Lebensjahr eine dem die Holzbläser, Blechbläser und Pauken eine glänzende Karriere als Geiger, studierte in Wien wichtige Rolle spielen. Erst nach diesem wunderbar und Paris bei Charles de Bériot und trat bei ernsten Abschnitt in moderatem Tempo beginnt Konzert in Europa, Russland und den Vereinigten der Solist mit einer ausdrucksstarken Melodie, Staaten auf. Ab 1871 war er einer einflussreicher gefolgt von virtuosen Doppelgriffen, was wiederum Lehrer am Brüsseler Konservatorium, wo Eugène zu einem Wechselspiel zwischen lyrischen und Ysaÿe zu seinen Schülern zählte. Doch schon zwei feurigen Passagen führt. Nach einer langen, Jahre später, 1873, lähmte ein Schlaganfall seinen stürmischen Kadenz und einer etwas strengen rechten Arm, und er musste seine Lehrtätigkeit Antwort des Orchesters bildet ein langer Ton im aufgeben. Seine letzten Jahre verbrachte er als Horn die Brücke zum langsamen zweiten Satz, Komponist in einem Sanatorium in Algerien, wo einem Adagio religioso. Solche religiös getönten sich seine Tochter mit ihrem Mann niedergelassen langsamen Sätze, die wie orchestrale Gebete hatte. Vieuxtemps wurde von Zeitgenossen wie anmuten, waren typisch für die französisch- Hector Berlioz und Paganini, den er in London traf, belgische Musik der Mitte des 19. Jahrhunderts. sehr geschätzt. hörte ihn 1834 Hier hören wir eines der besten Beispiele, ein in Leipzig, nannte das Spiel des damals Vierzehn­ Geigengebet voller Hingabe und Ekstase. Nach jährigen magisch und verglich ihn mit Paganini. dem lebendigen Scherzo, einem brillanten und 15 energischen Satz, der an die akrobatische Virtuosi­ tativ, dann mit dem Marschthema des Satzes, tät von Saint-Saëns erinnert, wiederholt sich der virtuos und mit zahlreichen Doppelgriffen. Vorüber­ choralartige Anfang des Konzerts. Doch nicht in gehend scheint es sogar, als ob die Violine mit ihren voller Länge, denn das Orchester steigert sich bald lyrischen Einwürfen den Marsch zu beschwichtigen zu einem festlichen Marsch, und damit beginnt das versucht. Doch wie erwartet übernimmt dieser eigentliche Finale. Auch hier setzt die Solovioline wieder die Führung, und das Konzert endet mit erst relativ spät ein, zunächst mit einer Art Rezi­ einem beeindruckenden Sieg.

Clemens Romijn

16 DISCOGRAPHY

Channel Classics recordings of Ning Feng CCS 80807 Hello Mr. Paganini (with Thomas Hoppe, piano) CCS 31210 Solo vol.1 CCS 34413 Solo vol. 2 CCS 34913 Bruch & Tchaikovsky (with Deutsches Symphonie-Orchester Berlin) CCS 37916 Apasionado (De Sarasate, Lalo, Ravel, Bizet/Waxman, with Orquesta Sinfónica del Principado de Asturas) CCS 39417 Schubert & Dvořák (with Dragon Quartet) CCS 39018 J.S. Bach Sonatas and Partitas for solo violin BWV 1001-1006 CCS 40218 Elgar & Finzi (with Royal Liverpool Philharmonic Orchestra) CCS 40919 Borodin, Shostakovich, Weinberg (with Dragon Quartet)

17 COLOPHON

Production Technical information Channel Classics Records Microphones Producer, recording engineer, editing, Bruel & Kjaer 4006, Schoeps mastering Digital converter Jared Sacks Horus/Merging Technologies (DSD256) Assistant recording engineer Pyramix Workstation/Merging Technologies Tom Caulfield Speakers Cover design Audiolab, Holland Ad van der Kouwe, Manifesta, Rotterdam Amplifiers Cover photo Van Medevoort, Holland Lawrence Tsang Cables Liner notes Van den Hul* Clemens Romijn Mixing board Translations Rens Heijnis, custom design Stephen Taylor, Anne Habermann Recording location Mastering Room Auditorio Palacio de Congresos Príncipe Felipe, Speakers Oviedo Spain Grimm LS1 Recording date Cable* June 2017 Van den Hul

*exclusive use of Van den Hul 3T cables

Special thanks to Mr. Chong Long for his generosity and support for this recording.

www.channelclassics.com www.ningfengviolin.com www.intermusica.co.uk 18 July 2019

Dear Sir / Madam,

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Best wishes, Jared Sacks Founder, Producer, Engineer at Channel Classics Records

19 NING FENG VIOLIN PAGANINI&VIEUXTEMPS VIRTUOSISMO ORQUESTA SINFÓNICA DEL PRINCIPADO DE ASTURIAS ROSSEN MILANOV CONDUCTOR

NICCOLÒ PAGANINI (1782-1840) VIOLIN CONCERTO NO. 1 IN D MAJOR OPUS 6 (1817-1818)

1 Allegro maestoso – Tempo giusto 22.48 2 Adagio 5.24 3 Rondo: Allegro spirituoso – Un poco più presto 9.31

HENRI VIEUXTEMPS (1820-1881) VIOLIN CONCERTO NO. 4 IN D MINOR OPUS 31 (ca. 1850)

4 Andante – Moderato – Cadenza 9.58 5 Adagio religioso 6.54 6 Scherzo: Vivace – Trio: Meno mosso Tempo I 5.02 7 Finale marziale: Andante – Allegro 8.17

Total time: 68.20

Violin: Stradivari, the ‘MacMillan’, 1721