Marat Bisengaliev, Violin Ꭿ

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CMYK NAXOS NAXOS For more than two decades before he achieved fame and financial security as England’s foremost composer, the young Edward Elgar earned a living as a violinist and violin teacher. Beside such evergreens as Sospiri, Chansons de Matin and de Nuit, Salut d’amour and his substantial Violin Sonata and Concerto, this Naxos anthology includes a treasury of lesser-known works, both charming salon pieces and astonishingly demanding études. ‘Bisengaliev is a sensational player ELGAR: DDD ELGAR: of intense musicality and tonal splendour. He delights in the nostalgia and demand of these pieces, bringing them glowingly alive, finding depth where others see only charm.’ (BBC Music 8.572643-45 Magazine, August 1999) Playing Time Edward 3:14:31 THE VIOLIN MUSIC ELGAR THE VIOLIN MUSIC (1857-1934) CD 1: Violin Concerto in B minor, Serenade for Strings CD 2: Romance, Mazurka, Bizarrerie, Serenade, Idylle, Chanson de matin, Chanson de nuit, La capricieuse, Gavotte, Salut d’amour, Etude-caprice, May Song, Virelai, In Hammersbach, Carissima, Adieu, Etudes caractéristiques pour violon seul CD 3: Elévation, Pastourelle, Bavarian Dances Nos. 1 and 3, Sospiri, www.naxos.com Made in the USA. Booklet notes in English ൿ Petite Reine – Berceuse, Polonaise in D minor, Dreaming, Mot d’amour, Naxos Rights International Ltd. Valse on Themes by Elgar (completed by Christopher Polyblank), 1999, 2001, 2011 Reminiscences, Interlude from ‘The Crown of India’, Allegretto: Duet on a theme of GEDGE, Violin Sonata in E minor, Fugue for Violin and Oboe Marat Bisengaliev, Violin Ꭿ Benjamin Frith, Piano • Camilla Bisengalieva, Oboe 2011 West Kazakhstan Philharmonic Orchestra Bundit Ungrangsee 8.572643-45 8.572643-45 A full track list and recording details can be found on pages 2 and 3 of the booklet Discs 2 and 3 previously released by Black Box Music Booklet notes: Keith Anderson and Martin Anderson Cover photograph: Worcester Cathedral by David Hughes (Fotolia.com).

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Elgar, Cello Concerto in E Minor
Cello Concerto in E minor, Op. 85 i. Adagio; Moderato ii. Lento; Allegro molto iii. Adagio iv. Allegro; Moderato; Allegro, ma non troppo; Poco più lento; Adagio Edward Elgar enjoys a curious reputation in his own country. To many, he is the composer of overtly nationalistic music such as Pomp and Circumstance, the musical incarnation of Edwardian imperialism. Although early works such as the Enigma Variations and Imperial March garnered him praise and fame, it is his later works from 1918-1919 that are much more autobiographical in content – none more so than the Cello Concerto in E minor. The Concerto was mostly composed between 1918 and 1919 at Brinkwells, a cottage in the Sussex woods where he wrote three other chamber works – the Violin Sonata, String Quartet and Piano Quintet. Like these other Brinkwells compositions, the Cello Concerto is a deeply introspective work which reveals much about the composer’s state of mind: an aging artist concerned about his waning popularity, his wife’s failing health, and reflecting on the horrors of the First World War. Despite a grossly under-rehearsed première at the Queen’s Hall on 27 October 1919, it has since been established as perhaps the finest cello concerto in the repertoire, alongside Dvořák’s, and the only work of Elgar’s to enjoy regular performances outside the English-speaking world. The Cello Concerto is an emotionally draining work not only for the players but also the listener, its overwhelming mood one of melancholy and autumnal world-weariness. The first movement opens with a declamatory, grandiose statement by the soloist leading, in almost improvisatory style, into a lilting melody; there is a wistfully lyrical middle section before the opening melody returns.
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Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No.
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Music Written for Piano and Violin
Music written for piano and violin: Title Year Approx. Length Allegretto on GEDGE 1885 4 mins 30 secs Bizarrerie 1889 2 mins 30 secs La Capricieuse 1891 4 mins 30 secs Gavotte 1885 4 mins 30 secs Une Idylle 1884 3 mins 30 secs May Song 1901 3 mins 45 secs Offertoire 1902 4 mins 30 secs Pastourelle 1883 3 mins 00 secs Reminiscences 1877 3 mins 00 secs Romance 1878 5 mins 30 secs Virelai 1883 3 mins 00 secs Publishers survive by providing the public with works they wish to buy. And a struggling composer, if he wishes his music to be published and therefore reach a wider audience, must write what a publisher believes he can sell. Only having established a reputation can a composer write larger scale works in a form of his own choosing with any realistic expectation of having them performed. During the latter half of the nineteenth century, the stock-in-trade for most publishers was the sale of sheet music of short salon pieces for home performance. It was a form that was eventually to bring Elgar considerably enhanced recognition and a degree of financial success with the publication for solo piano of Salut d'Amour in 1888 and of three hugely popular works first published in arrangements for piano and violin - Mot d'Amour (1889), Chanson de Nuit (1897) and Chanson de Matin (1899). Elgar composed short pieces for solo piano sporadically throughout his life. But, apart from the two Chansons, May Song (1901) and Offertoire (1902), an arrangement of Sospiri and, of course, the Violin Sonata, all of Elgar's works for piano and violin were composed between 1877, the dawning of his ambitions to become a serious composer, and 1891, the year after his first significant orchestral success withFroissart.
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