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Hyperion Records

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Track(s) taken from CDA67389
Recording details: September 2003
Caird Hall, Dundee, Scotland
Produced by Nicholas Parker
Engineered by Mike Hatch
Release date: April 2004
Total duration: 34 minutes 12 seconds

'Tasmin Little's idiomatic advocacy of all three works belies the fact that none could be described as standard repertoire … handsomely produced and well recorded, this issue makes three very welcome additions to the repertoire' (BBC Music Magazine)

'Tasmin Little's flamboyant performance of this breathtaking display piece should be counted a jewel in her already distinguished discography' (International Record Review)

'This disc is yet another jewel in Hyperion's star-studded crown … enjoyable from start to finish—a disc well worth having' (The Strad)

'One of my discs of the year' (Classic FM Magazine)

'Tasmin Little displays an invitingly warm, slender tone and broad dynamic range, very much in keeping with the style of this music. Her intonation and bowing are impeccable: the considerable difficulties of Moszkowski's finale hold no terrors for her' (Fanfare, USA)

'This disc is the most impressive installment in Hyperion's Romantic Concerto Series; superb and most beautifully recorded and played' (MusicWeb International)

Violin Concerto in C major, Op 30
composer
first performed in 1883

Allegro comodo  [15'20]
Andante  [11'38]
Vivace  [7'14]

Introduction  EnglishFrançaisDeutsch
The Violin Concerto in C major Op 30 appeared nearly ten years after the Ballade, and was dedicated to the famous French violinist Emile Sauret, who gave the first perfomance in Berlin in 1883. Cast in the usual three movements, it is a substantial full-blooded romantic work in every aspect, demanding exceptional virtuosity, but never for its own sake, and always subservient to the musical content. The first movement—Allegro comodo—is of considerable length but basically adheres to convention, and also serves as ample confirmation of Moszkowski’s ability and confidence in developing a coherent large-scale structure, thus belying his unjust reputation as being merely a competent composer of salon trifles. Set in compound time, four in a bar, graceful dotted dance-like rhythms abound, which bear some similarity to the figurations used in the Ballade, alternating brilliant passagework with the introduction of syncopation and the appearance of the second subject. Moszkowski all but dispenses with the traditional cadenza, instead introducing three short improvisatory passages for the soloist, the last one of which appears before the recapitulation.

The second movement—Andante—is one of Moszkowski’s most inspired movements, introducing a lyrical main theme of uncommon beauty which contrasts with the following build-up in intensity and emotion. As the orchestra restates the opening theme, the soloist floats above, molto espressivo, in rhapsodic vein before the movement dies peacefully away.

The finale—Vivace—is the soloist’s tour de force, entering with a breathless 38-bar perpetuum mobile. The momentum is sustained and only briefly interrupted by a more lyrical counter-theme, which in turn gives way to a gypsy-like dance before the brilliant coda brings the work to a most exhilarating and exciting end.

from notes by Martin Eastick © 2004

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