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Track(s) taken from CDA67940

Meditation in D major, Op 32

1891; for violin and piano or orchestra

Chloë Hanslip (violin), Orchestra della Svizzera Italiana, Alexander Vedernikov (conductor)
Studio Master FLAC & ALAC downloads available
Studio Master:
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Recording details: October 2011
Auditorio Stelio Molo, Lugano, Switzerland
Produced by Andrew Keener
Engineered by Ben Connellan
Release date: March 2013
Total duration: 4 minutes 15 seconds

Other recordings available for download

Hideko Udagawa (violin), Philharmonia Orchestra, Martyn Brabbins (conductor)


'Schoeck's Concerto is, indeed, highly romantic but in a subtle, refined way … Hanslip gives a most convincing performance; her unobtrusive musicianship, with subtle variations in tone to match the emotional colour of each phrase, is admirably suited to the music's refined expressiveness. Throughout the disc, the orchestral contribution is splendidly clear and well balanced. Hanslip is also persuasive in the Glazunov concerto … the purity and neatness of her playing bring an effortless sparkle to the concerto's finale' (Gramophone)

'Glazunov's once extremely popular Violin Concerto should delight. Here full-blooded lyricism meets virtuoso delirious high spirits' (BBC Music Magazine)

'A spry, tenderly phrased performance of Glazunov's delightful concerto launches the first part of Chloë Hanslip's impressively played programme, with the addition of two exquisite miniatures … Hanslip and the Swiss/Italian orchestra respond well to the Schoeck concerto's late-Romantic language and voice it with discreet passion' (The Daily Telegraph)

'Melting lyricism and romantic / rhapsodic character, masking structural vagaries under a blanket of charm … known mainly for his Lieder, Schoeck wrote a concerto of soulful reverie, which Hanslip captures with breathtaking eloquence' (Financial Times)

'Perhaps as an 'offspring' of her tutelage under the Russian pedagogue Zakhar Bron and iconoclast violinist Ida Haendel, Ms Hanslip harbors an acquired affection for these two composers, bringing to the infrequent Schoeck Concerto (1910-1911) a rare commitment and resonant vitality. Much of Hanslip’s playing of the music of Glazounov hearkens back to the artistry of Nathan Milstein, whose fondness and natural expertise in the Glazounov Violin Concerto (1904) and Meditation (1891) possessed an equally illumined elegance. In terms of lyric outpouring, the one-movement concerto provides a fluid, singing vehicle for Hanslip' (Audiophile Audition, USA)
Glazunov’s Meditation in D major, Op 32, for violin and piano or orchestra was composed in 1891, apparently as a simple lyric piece for salon or concert hall. It was a popular recital and encore piece in the early twentieth century and exists in several arrangements apart from Glazunov’s own: the British composer John Foulds, for example, made a version for violin and chamber orchestra. The piece is a tranquil and very beautiful melodic outpouring, based throughout on the romantic theme heard at the outset, and using the entire range of the violin while being accompanied with exquisite harmonic restraint.

from notes by Calum MacDonald © 2013

Auparavant, Glazounov n’avait composé qu’une seule œuvre pour violon solo, la Méditation en ré majeur, op. 32, pour violon et piano ou orchestre, en 1891—apparemment, un simple morceau lyrique pour le salon ou la salle de concert mais qui faisait, au début du XXe siècle, une page de récital ou un bis populaire. D’autres que Glazounov en donnèrent un arrangement, comme le Britannique John Foulds, qui en réalisa une version pour violon et orchestre de chambre. Paisible et splendide effusion mélodique, cette Méditation est fondée de bout en bout sur le thème romantique entendu au début et utilise l’étendue complète du violon, tout en faisant montre d’une exquise retenue harmonique.

extrait des notes rédigées par Calum MacDonald © 2013
Français: Hypérion

Glasunows Meditation in D-Dur, op. 32, für Violine und Klavier oder Orchester wurde 1891 komponiert, offenbar als einfaches lyrisches Stück für den Salon oder Konzertsaal. Anfang des 20. Jahrhunderts war es ein beliebtes Konzert- oder Zugabestück; neben Glasunows eigener Bearbeitung gibt es noch einige andere: so schrieb z. B. der britische Komponist John Foulds eine Version für Violine und Kammerorchester. Das Stück verströmt eine ruhige und wunderbare Melodik, die durchweg auf dem romantischen Thema des Anfangs basiert; und es führt die ganze Bandbreite der Violine vor, während die Begleitung von feiner harmonischer Zurückhaltung geprägt ist.

aus dem Begleittext von Calum MacDonald © 2013
Deutsch: Christiane Frobenius

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