關於 beethoven violin sonata no 4 ，我們在網路上蒐集到這些相關的討論、資訊與評價

【CD】後知後覺，總好過不知不覺
Beethoven: Violin Concerto，Bach Adagio from Sonata Violin Solo No.1
Daniel Lozakovich, Valery Gergiev, Munchner Philharmoniker
DG 483 8946

這位2001年生於瑞典斯德哥爾摩的小提琴家Daniel Lozakovich，坦白說我起初是看不起這位小伙子，最近看到他推出貝多芬小提琴協奏曲，我才知道他已經在國際古典音樂大品牌DG出到第三張專輯，以這樣年輕的小伙子竟然可以在一個古典音樂名牌推出到第三張專輯，無辦法不使我對他注目。

在起初聽他拉奏貝多芬小提琴協奏曲時，我也抱有懷疑的態度，在三分多鐘樂團演奏後，到Daniel Lozakovich出場，他不是用一種宏大氣勢來壓場，不過在充滿樂感的琴音中，這種獨特迷人的音色，已經把我吸引住，雖然還未到透不過氣這般誇張，不過他的小提琴音色確實吸引，在小提琴中上的音量下，仍然聽到他很多細緻的拉奏，而且不會拖泥帶水，是每一個細節也交代得清楚，而又有很好的歌唱性。這刻我知道自已真的是後知後覺，現在Daniel Lozakovich推出到第三張專輯，我才開始留意，但總好過不知不覺，所以樂迷還未留意到這位小伙子，快快聽聽他這張CD，千萬不要不知不覺！最後，聽到Daniel Lozakovich這樣出眾的音色，我不自覺有點期待他拉奏Mendelssohn的小提琴協奏曲，如果真的收錄這首曲目，我一定捧場！

Farewell. Ida – Ida Haendel 192?-2020

So Ida has left us – a legend has departed. What a violinist! What a woman! Magnificent, unique, incorrigible – she was a law unto herself.

First, the playing: a film about her was aptly entitled: ‘I AM the Violin.’ And she was! The violin was her life; she mastered it, devoted so much of her existence to it, cared so much about it. Every performance was an event, which she took absolutely seriously, giving each concert her all. She spoke through her violin, proved herself through it, lived within the music she made. She was a marvel, an icon; each note she played was the result of total conviction – and as a consequence was totally convincing. She had been groomed from the beginning to be a star – and a star she was.

But she was also an adorable person. I had heard of her, of course, from my childhood onwards – hadn’t everybody? But I didn’t meet her until - I think - 2000, when I attended a memorable recital she gave at the Wigmore Hall (apparently her debut there!), concluding with a magisterial performance of Enescu’s 3rd sonata. I’d heard, to my delight, that she’d heard me somewhere, and had liked it, so I dared to go backstage afterwards. Having enthused about her playing, I rather uncertainly told her that I was Steven. She looked at me disbelievingly. ‘You’re NOT’ she announced, in her wonderful deep voice. I assured her that I certainly had been last time I looked in the mirror. She accepted this, and proposed that we play the Brahms Double together. It was such an honour; but alas, I just couldn’t do the dates she suggested.

I came across her shortly thereafter, however, at the Verbier Festival. I’d seen that she was giving masterclasses there, so when I saw her, I asked how they were going. She looked at me severely. ‘Steven,’ she boomed, wagging her finger. ‘I don’t teach.’ I was puzzled; she was, after all, advertised as the teacher of the violin class. ‘So you like teaching?’ I said, provoking her. The finger wagged again. ‘Steven,’ she repeated with equal seriousness, ‘I don’t teach.’ ‘So how’s the teaching going?’ I asked. Her finger was on its way in my direction, and she’d started to say my name in the same tone of voice – when suddenly her face broke into a big smile. ‘Oh – so you’re a tease,’ she said. After that, we got on famously. My other main memory of that Verbier encounter was of her examining something – I couldn’t see what - in the hotel lobby, and then calling me over. It turned out that the object in her hands was an album of recent photos of her. ‘Look, Steven,’ she commanded urgently. ‘Don’t I look gorgeous?’

Later, we took her to dinner near her flat in London. Tottering through the streets in her high heels, she suddenly came to a stop in front of a (closed) clothes shop, where either a pair of gold shoes or a gold dress (I can’t remember which) had caught her eye. It was impossible to budge her, late though we were for the restaurant. ‘Wouldn’t I look wonderful in that?’ she asked us challengingly. We agreed that she would. ‘I’m coming back here tomorrow morning,’ she assured us. She spoke that night about her appearance. ‘You think I dress like this just to go out?’ she asked. ‘No! Catch me at breakfast – I’ll look just the same.’ Her pride in her appearance was never-changing. Perhaps in someone else it could have been too much – but with Ida, it was wonderful, admirable; life-affirming, in fact, like her pride in her playing.

It is funny that already I’ve seen two obituaries giving her age five years apart. She’d certainly have preferred the younger estimate… It was impossible to get the truth out of her. I remember asking another glorious violinist-character, Lorand Fenyves, whether he knew Ida. ‘Oh yes, of course!’ he replied. ‘I knew her when I was 16 and she was 15.’ He paused. ‘And now I’m 80 and’ his eyes twinkled, ‘she’s 55!’

Although we never got to play the Brahms Double together, we did perform the Beethoven Triple concerto with Martha Argerich and the Rotterdam Philharmonic under the then little-known Yannick Nezet-Seguin in (I think) 2006. Now THAT was an experience – to put it rather mildly… Playing with those two way-larger-than-life ladies was something not to be forgotten; the two adored each other, and it was great fun to witness their interaction. Ida had only played the piece once before, as I remember; but she played it with utter conviction. And Martha was – well, Martha. And Yannick kept the whole thing together, somehow. So – it was special…

It was supposed to happen again, in Miami (where Ida lived); but alas, it didn’t. Still, I kept in touch with Ida and on one memorable occasion got to interview her at the Wigmore Hall (there’s a recording of that occasion on Youtube). She also came down to Prussia Cove once for three days, her visit culminating in a breathtaking account of the Bach Chaconne (she sported an almost equally breathtaking dress to match!) at the Hall for Cornwall. We also played and taught/didn’t teach together in 2010 at the Summit Music Festival, just outside New York. That was another unforgettable experience. At the concert that concluded the festival, Ida played virtuoso pieces with the orchestra that would have been impressive in someone thirty years younger – even younger – than she was. But equally Ida-ish was the post-concert experience. For some reason, it got very late, and it was well after midnight when we were taken in search of food. Not surprisingly, there were few options in the countryside at that time of night; but eventually we found a 24-hour diner. We went in and occupied a table. Looking around at the bikers and other rather unpredictable-looking types, I was a tad nervous; not Ida. I fortified myself with a margarita; she had tea. At one point, the conversation turned to Schumann, and his 2nd violin sonata (which at that time I didn’t know very well). I asked a question about it. ‘You want to hear how it goes?’ Ida demanded to know. She strode over to her violin-case, pulled out the violin, and to the astonishment (and then, luckily the delight) of the assembled company, began to play it. A photo taken at the time (below) shows me a little less than comfortable – and her absolutely in her element.

Oh, Ida. By the last time I spoke to her – too long ago, but not that long ago – I’d heard that she’d become very forgetful, so wasn’t quite sure whether to call her or not. But I dialled anyway, and the phone was answered. ‘Hello, Ida?” ‘Who is it?’ ‘It’s Steven – Steven Isserlis.” Silence – then the phone went dead. Oh dear. I tried again. This time I was able to hold her attention long enough to remind her who I was. We started to talk, and as the conversation progressed, she evidently remembered more and more about our friendship. It was true that she repeated herself a lot; but still – she was very much Ida, the same wonderful voice, the same love of life.

And now she’s gone. Farewell, Ida the legend; we humanoids will miss you – but thank you, thank you for giving us so much. Everything, in fact.

📹 第九屆德國威瑪國際LOUIS SPOHR青少年小提琴比賽 - 複賽直播

Live from Weimar: The second round of the 9th International LOUIS SPOHR Competition for Young Violinists.

We continue with four participants of category II:
➡️ Nayoun Kim:
- L. v. Beethoven: Sonata No. 3 E flat major op. 12/3
- M. Ravel: Tzigane
- A. Schnittke: Fuge für Violine Solo (1953)

➡️ Kyota Kakiuchi:
- L. v. Beethoven: Sonata No. 3 E flat major op. 12/3
- M. Ravel: Tzigane
- A. Schnittke: Fugue for Violin Solo (1953)

➡️ Sara Watanabe:
- L. v. Beethoven: Sonata No. 4 A minor op. 23
- F. Waxman: Carmen Fantasie
- G. Ferrari: Improvvisazioni - per violino solo (1972): 1st, 2nd and 4th movement

➡️ Emil Hartikainen:
- L. v. Beethoven: Sonata No. 1 D major op. 12/1
H. Wieniawski: Polonaise de Concert op. 4
A. Sallinen: Cadenza for solo violin (1960)

古典不古典 - 開車聽什麼
何姿儀/楊尹賓

如果你能在交通混亂，分秒必爭的台北市駕馭開車之道，恭喜你的開車技能已經征服了全世界90%的城市
交通狀況讓人心煩氣躁，這時候聽哪些古典音樂可以幫助降火，或其實會不小心害你開更快呢？

#開車音樂清單

Beethoven: Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor" - 1. Allegro

Christian Vuust & Aaron Parks: Månestrålen

Brahms: 4 Ballades, Op.10 - No.4 In B · Arturo Benedetti Michelangeli

Wieniawski: Violin Concerto No. 1 in F-Sharp Minor, Op. 14: I. Allegro moderato

Piazzolla: Las 4 Estaciones Porteñas

Ravel: Violin Sonata No. 2 in G Major, M. 77: II. Blues - Moderato

John Rutter: Et misericordia from Magnificat


spotify播放清單: playlist:0L5Ujo0hq5NTSyb6as76Ya
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これはインターネットによる、インターネットのためのフルートコンサートです。
This is a flute concert for the internet, by the internet.
【Program】
00:00 opening
2:48 J.S.Bach　Orchestral suite No. 2 Polonaise - Badinerie
12:15 J.S.Bach　Flute Sonata C-dur BWV1033
27:27 Gounod　Ave Maria
39:15 J.S.Bach Sonata and Partitas for Violin Solo BWV 1006 Gacotte en Rondeau
46:59 Suiten für Violoncello solo Menuetto I/II
58:00 Beethoven　3 Duos　No.1 WoO 27
…and more

This is a concert with guest guest cellist Keiichi Yamada!
Please listen!

* When holding the concert, we will perform the performance with due care in maintaining health and preventing infection.
Regular washing and disinfection of the hands, rehearsals, live performances only by the performers, and regular ventilation will take the maximum possible measures.

沢山のご来場ありがとうございました！
今回はゲストにチェリストの山田慶一さんを招いてのコンサートです！
ぜひ聴いてくださいね！

※コンサート開催にあたり、健康維持、感染予防に十分注意して公演を行わせていただきます。
定期的に手洗い、消毒を行い、リハーサル、本番会場には演奏者のみ入場、さらに定期的な換気をするなど、考えうる最大限の対策を講じます。

#flute
#cello
#online
#concert