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Track(s) taken from CDA68040

Recitativo and Scherzo, Op 6

published in 1911; for solo violin; dedicated À Eugène Ysaÿe, le maître et l'ami

Jack Liebeck (violin)
Studio Master FLAC & ALAC downloads available
Studio Master:
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Recording details: April 2013
St George's, Brandon Hill, United Kingdom
Produced by Rachel Smith
Engineered by Ben Connellan
Release date: April 2014
Total duration: 4 minutes 58 seconds

Cover artwork: The Violin Case (1923) by Marie Clementine Valadon (1865-1938)
Musée d'Art moderne de la Ville de Paris / Giraudon / Bridgeman Art Library, London


'Jack Liebeck is a fine player—no doubt about that—with a firm tone and rock-solid technique. The 1785 ‘Ex-Wilhelmj’ Guadagnini he plays fills St George’s, Bristol, with commanding ease … he is best in Kreisler’s transcriptions (a touching Gluck Mélodie, thrilling bravura in Falla’s Danse espagnole and a forthright, confident account of the 'Devil's Trill' Sonata, which ends the disc in style)' (Gramophone)

'This cracking box of Fritz Kreisler fireworks marks the beginning of young violinist Jack Liebeck's partnership with Hyperion … these are so refreshingly bright and zestful they feel like new pieces. The instantly familiar Praeludium and Allegro, for example, is dismissed with exhilarating haste, as is Kreisler's immensely demanding transcription of Dvořák’s E minor Slavonic Dance. But perhaps the most impressive performance in the entire collection is the conquering of Kreisler's adaptation of Tartini's 'Devil's Trill' sonata, which surrenders completely to Liebeck and Katya Apekisheva's formidable technique' (The Observer)» More

'This estimable Kreisler compilation from the young British violinist Jack Liebeck heralds his new alliance with Hyperion, and one could hardly imagine a more propitious start to their relationship … these disarmingly affectionate and often brilliant accounts of these Kreisler favourites prove unusually satisfying … particularly superb are the transcriptions of Dvořák’s E minor Slavonic Dance, Op 72 No 2 and the ‘Danse espagnole’ from Falla’s La vida breve, both of which are hugely demanding for the violinist and played with élan and bravura here by Liebeck … this is unquestionably a Kreisler disc to which I’ll be returning often and always with pleasure, for these spirited and discerning readings have so much to commend them as to make even minor qualms seem churlish. Liebeck and Apekisheva are heard at their brilliant best in Kreisler’s own formidably taxing reworking of the G minor ‘Devil’s Trill’ Sonata by Tartini. There is indeed something of the Mephistophelean about this astounding account and Liebeck sounds stunning in Kreisler’s intimidating cadenza' (International Record Review)» More

'Quite superb accounts of the Recitative and Scherzo, and Kreisler’s arrangement of Tartini’s ‘Devil’s Trill’ Sonata … the engineers provide an ideal balance and pleasing sound to complete an outstanding release' (The Strad)» More
The Recitativo and Scherzo for solo violin, published in 1911 as Op 6, bears the dedication ‘À Eugène Ysaÿe, le maître et l’ami’. The Recitativo demands the parlando bowing that was a persuasive part of Kreisler’s armoury, while the Scherzo calls for considerable virtuosity. A dozen years later Ysaÿe returned the compliment by dedicating the fourth of his solo sonatas to Kreisler.

from notes by Tully Potter © 2014

Le Recitativo et Scherzo pour violon solo, publié en 1911 sous le numéro d’opus 6, est dédié «À Eugène Ysaÿe, le maître et l’ami». Le Recitativo fait appel au coup d’archet parlando, l’un des outils convaincants de l’arsenal de Kreisler; quant au Scherzo, il requiert une immense virtuosité. Quelque douze ans plus tard, Ysaÿe lui retournera le compliment en lui dédiant sa quatrième sonate pour violon solo.

extrait des notes rédigées par Tully Potter © 2014
Français: Hypérion

Das Recitativo und Scherzo für Violine solo erschien 1911 als op. 6 und trägt die Widmung: „À Eugène Ysaÿe, le maître et l’ami.“ Das Recitativo erfordert die Parlando-Bogenführung, die zu Kreislers überzeugenden Mitteln gehörte; das Scherzo verlangt hingegen beträchtliche Virtuosität. Zwölf Jahre später erwiderte Ysaÿe das Kompliment, indem er Kreisler seine vierte Solosonate widmete.

aus dem Begleittext von Tully Potter © 2014
Deutsch: Christiane Frobenius

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