Liebesfreud by Rachmaninov/Kreisler (Piano Transcription)
Raluca Stirbat, Piano
Released by Gramola, Viena 2011
https://www.gramola.at/de/Magazin/Artists/RalucaStirbatKonzert/
http://www.amazon.de/s?_encoding=UTF8&field-artist=Raluca%20Stirbat&search-alias=music-de

Liebesfreud by Rachmaninov/Kreisler, Raluca Stirbat, Piano

Mozart Sonate no. 17 in D Dur - Mvt 1 -

Liszt, Hungarian Rhapsody No.2

Ysaye - Sonata No 3 for solo violin 'Ballade'
Tchaikovsky - Melody Op. 42

Ysaye - Sonata No 3 for solo violin 'Ballade'

Jun Keller, violin // Hiroshi Kato, piano // live recording

Kreisler: Schön Rosmarin

Violons virtuoses - Virtuosic violon
Interprètes :
Nikki Chooi, violon/violin
Timothy Chooi, violon/violin
Philip Chiu, piano

P.SARASATE Navarra, Opus 33

Although the “Kreutzer” Sonata, Op. 47, is dedicated to Rodolphe Kreutzer, the original dedication was to George P. Bridgetower (1779-1860), for whom the piece was written. Bridgetower, an African-Polish violinist who lived in London.
Rodolphe Kreutzer (1766-1831) was a French violinist of great renown whom Beethoven met in Vienna in 1798.

Beethoven’s decision to dedicate the sonata to Kreutzer instead of Bridgetower was probably related to his intended move to Paris and a wish to ingratiate himself with French musical luminaries. Legend has it that Beethoven changed the dedication because he and Bridgetower quarreled over a woman. Kreutzer most likely never knew of the dedication, and it is almost certain that he never played the piece.

The “Kreutzer” Sonata was published in 1805. Beethoven described the piece as “written in a very concertante style, like that of a concerto,” explaining the internal conflict generally associated with his larger works.

Beethoven’s “new path” is everywhere evident in the first movement of the “Kreutzer” Sonata. The only slow introduction Beethoven ever wrote for a violin sonata is actually the only portion of the movement in A major, which gives way to A minor at the beginning of the Presto sonata-form section. Development of the first theme does not occur until the lengthy, weighty coda, which is much more symphonic than chamber-style in conception.

Mozart Sonate no. 17 in D Dur - Mvt 1 -

Giao Linh