PAGANINI&VIEUXTEMPS - Channel Classics
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
CHANNEL CLASSICS
CCS 40719
NING FENG VIOLIN
PAGANINI & VIEUXTEMPS
VIRTUOSISMO
O R Q U E S TA S I N F Ó N I C A D E L P R I N C I PA D O D E A S T U R I A S
ROSSEN MILANOV CONDUCTORNing Feng (photo: Lawrence Tsang)
2NING FENG returns to the Shanghai Symphony Orchestra
under the baton of Yu Long.
“Ning Feng’s total mastery could be seen in the In recital and chamber music Ning Feng
precision and sweep of his bow, and heard in the regularly performs with Igor Levit and Daniel
effortless tonal range, from sweet to sumptuous.” Müller-Schott, amongst others, and in 2012
New Zealand Herald - founded the Dragon Quartet. He appears at major
venues and festivals such as the Wigmore Hall in
Ning Feng is recognised internationally as an artist London, the Concertgebouw Amsterdam, National
of great lyricism, innate musicality and stunning Centre for Performing Arts (Beijing) as well as the
virtuosity. Blessed with an impeccable technique Schubertiade, Mecklenburg-Vorpommern and Hong
and a silken tone, his palette of colours ranges from Kong International Chamber Music Festivals.
intimate delicacy to a ferocious intensity. The Berlin Born in Chengdu, China, Ning Feng studied at
based Chinese violinist performs across the globe the Sichuan Conservatory of Music, the Hanns Eisler
with major orchestras and conductors, in recital School of Music (Berlin) with Antje Weithaas and
and chamber concerts. the Royal Academy of Music (London) with Hu Kun
Recent successes have included a return to where he was the first student ever to be awarded
the Budapest Festival Orchestra with Iván Fischer 100% for his final recital. The recipient of prizes at
in Budapest and on tour to China performing the Hanover International, Queen Elisabeth and
Dutilleux L’arbre des songes, tours with the Hong Yehudi Menuhin International violin competitions,
Kong Philharmonic Orchestra and Jaap van Zweden Ning Feng was First Prize winner of the 2005
to Europe, Asia and Australia, concerts with the Michael Hill International Violin Competition
Konzerthausorchester Berlin and Lawrence Foster (New Zealand), and in 2006 won first prize in the
in Berlin and China as well as concerts in Brazil International Paganini Competition. He teaches at
and on tour to the Far East with the São Paulo the Hanns Eisler School of Music in Berlin, the Royal
Symphony Orchestra and Marin Alsop. Further Northern College of Music in Manchester and the
recent highlights include successful debuts with the Central Conservatory of Music in Beijing.
Los Angeles Philharmonic and Xian Zhang, National Ning Feng plays a 1721 Stradivari violin, known
Symphony Orchestra and Gianandrea Noseda, as the ‘MacMillan’, on private loan, kindly arranged by
Frankfurt Radio Symphony and City of Birmingham Premiere Performances of Hong Kong, and plays on
Symphony Orchestra with Mirga Gražinytė-Tyla and strings by Thomastik-Infeld, Vienna.
3ROSSEN MILANOV Director of the nationally recognized training
orchestra Symphony in C in New Jersey, and in
Respected and admired by audiences and musicians 2013 a 17-year tenure with the New Symphony
alike, Rossen Milanov is currently Music Director of Orchestra in his native city of Sofia, Bulgaria. His
the Columbus Symphony Orchestra, Chautauqua passion for new music has resulted in numerous
Symphony Orchestra, Princeton Symphony Orches world premieres of works by composers such
tra and the Spanish ensemble Orquesta Sinfónica as Derek Bermel, Mason Bates, Caroline Shaw,
del Principado de Asturias. Phillip Glass, Richard Danielpour, Nicolas Maw, and
Rossen Milanov has gained a considerable Gabriel Prokofiev.
national and international reputation, appearing Noted for his versatility, Milanov is also a
with the symphony orchestras of Colorado, Detroit, welcomed presence in the world of opera and
Indianapolis, Milwaukee, Baltimore andSeattle, with ballet. He has collaborated with Komische Oper
the Fort Worth Symphonies and the National Berlin in Shostakovich’s Lady Macbeth of Mtzensk,
Symphony Orchestra (at the Kennedy Center); Opera Oviedo with the Spanish premiere of
during Link Up educational projects he conducted Tchaikovsky’s Mazeppa and Bartók’s Bluebeard’s
the Orchestra of St. Luke’s at Carnegie Hall and Castle (which gained an award as the best Spanish
the Civic Orchestra in Chicago. production in 2015), and with Opera Columbus
Milanov has worked internationally with the (Verdi’s La Traviata).
BBC Symphony Orchestra, Orchestra de la Suisse An experienced ballet conductor, Milanov
Romande, Rotterdam Philharmonic, Aalborg, Latvian has been seen at New York City Ballet and has
and Hungarian national symphony orchestras, Slove collaborated with some of the best known
nian Radio Symphony Orchestra, as well as with choreographers of our time, including Mats Ek
orchestras in Canada, South Africa, Mexico, Colom and Benjamin Millepied and most recently Alexei
bia, Brazil and New Zealand. In the Far East he has Ratmansky (in the critically acclaimed revival of Swan
appeared with NHK, Sapporo, Tokyo, Singapore Lake in Zurich with Zurich Ballet), and with La Scala
Symphonies, Malaysian and Hong Kong Philharmo Ballet in Paris.
nics, and at the Hyogo Performing Arts Center. In 2017, Rossen Milanov was recipient of an Arts
The many pre-eminent international artists with Prize from the Columbus Foundation. Under his
whom Rossen Milanov has collaborated include leadership the Symphony has expanded its reach by
Yo-Yo Ma, Itzhak Perlman, Joshua Bell, Midori Goto, connecting original programming with community-
Christian Tetzlaff, and André Watts. During his wide initiatives focusing on themes ranging from
eleven-year tenure with The Philadelphia Orchestra, women composers to nature conservancy. Outof-
Milanov conducted more than 200 performances. In the-box festival programmes and the commissioning
2015, he completed a 15-year tenure as Music of new music are among his trademarks.
4Rossen Milanov
5In Princeton Milanov celebrates his tenth and Latin America. Its primary activity revolves
anniversary as Music Director by collaborating around the concert seasons it offers each year
with creative artists such as Daniel Rowland, Inon in the cities of Oviedo, Gijón and Avilés – seasons
Barnatan, Rachel Barton Pine and Derek Bermel. that have featured some of the most important
Rossen Milanov studied conducting at the Curtis soloists and conductors on the international scene,
Institute of Music and the Juilliard School, where he alongside its own succession of musical directors:
received the Bruno Walter Memorial Scholarship. Jesse Levine, Maximiano Valdés and, most recently,
A passionate chef, he often dedicates his culi Rossen Milanov, who assumed the directorship
nary talents to various charities. in 2012.
The OSPA’s appearances outside the regular
season include performances that have become
ORQUESTA SINFÓNICA eagerly anticipated fixtures on programmes such
DEL PRINCIPADO as the opening gala of the Princess of Asturias
DE ASTURAS Awards and the traditional annual Christmas
Concert – the latter in close collaboration with the
The Symphony Orchestra of the Principality of Princess of Asturias Foundation Choir in recent
Asturias (OSPA) was founded in 1991 under the years – not to mention the Orchestra’s essential
auspices of the Government of the Principality role in the opera season of the Asturian Friends of
of Asturias. Its main objective is the cultural and the Opera Association.
musical enrichment of the region, and King Felipe In Asturias the Orchestra’s intensive social and
VI of Spain serves as the group’s honorary educational outreach work is expanding year on
president. The OSPA operates as an independent year and warmly received in every locale they visit.
branch of the Ministry of Education and Culture Amongst the OSPA’s most lauded activities is its
and is a member of the Spanish Association of noteworthy collaboration as a partner orchestra in
Symphony Orchestras (AEOS). Carnegie Hall’s Link Up programme, making it the
Having inherited the legacy of the former first European and first Spanish-language institution
Provincial Symphonic Orchestra, with origins to participate, reaching schoolchildren across
dating back to 1939, as well as that of the later Asturias.
Symphony Orchestra of Asturias, the OSPA today Outside the Principality, the Orchestra has
is renowned both within Asturias and around the performed at the most important venues and
world for its versatility, interpretive powers and concert halls on the Spanish musical landscape. It
undisputed musical quality. has collaborated with the Bilbao Friends of the
The OSPA is made up of 69 professional Opera Association and has appeared at major
musicians from the EU, Russia, the United States summer events including the Santander, Granada
6Recording session (photo: Channel Classics)
7Recording session
(photo: Channel Classics)
8Music & Dance and Alicante Contemporary the 2012-13 season they recorded Stravinsky’s
Music Festivals. The OSPA is also a regular guest Petrushka and Falla’s Three-Cornered Hat for Classic
at the Cuenca Sacred Music Week and Bilbao’s Concert Records (the first CD in their Diaghilev &
Musika-Música Festival. the Ballets Russes series). In both 2015 and 2017,
Highlights on the Orchestra’s international Channel Classics Records recorded the Orchestra
touring calendar have included their 1996 with violinist Ning Feng in Asturias. The first CD
performances in Mexico and Chile, where they entitled «Apasionado» (2016) with works by
would return just two years later. Also in 1998, the Sarasate, Lalo, Ravel and Bizet received excellent
OSPA participated in the Lorient Interceltic Festival reviews in newspapers and magazines around the
in France. A third trip to Mexico in 2007 brought world. Audiophile Audition wrote “The convergence
great critical acclaim, and at the end of that year of Eastern European conductor and Spanish orchestra
the Orchestra travelled to China as part of the certainly nails down both musical strains in this
nation’s Year of Spain activities. In November of program, providing properly atmospheric support
2011 they performed a concert for Pope Benedict to Feng’s virtuoso fiddling. (...) violinistic fireworks by
XVI at the Vatican’s Paul VI Audience Hall with the carload.” In June 2017 this second CD ‘Virtuoso’
support from the María Cristina Masaveu Peterson with Ning Feng was recorded; Vieuxtemps Concerto
Foundation. With that extraordinary concert, the for violin nº 4 in D minor, op. 31 and Paganini Con
OSPA became the first ever public Spanish certo for violin nº 1 in D major, op. 6. Also by the
orchestra to perform in the Hall. A successful tour label Channel Classics.
of Bulgaria followed in June of 2014, earning the The OSPA has been instrumental in the
orchestra excellent reviews in both Sofia and Varna. recovery of several works of Spanish musical
The OSPA’s recording career began with a heritage for the stage, amongst them Tomás
focus on Asturian music, featuring works by such Bretón’s Covadonga and Los amantes de Teruel (The
Asturian composers as Benito Lauret, Julián Orbón Lovers of Teruel), as well as the Baroque zarzuela
and Ramón Prada. They have also recorded for El imposible mayor en amor, le vence amor (Love
Artek and Naxos, the latter label releasing their Conquers All) by Sebastián Durón. They have also
albums of music by Manuel de Falla and Joaquín revived 19th-century Spanish symphonic works
Rodrigo, which earned excellent reviews. During by composers including Pedro Miguel Marqués.
Translation: Ray Granlund
910
Recording session
(photo: Channel Classics)
11A VIOLIN MAGICIAN himself, sometimes for fifteen hours a day, in 1797
FROM GENUA he embarked on a triumphant tour of Europe
which went on for years. His performance of
Music played by strings is often felt to be soothing, tender pieces moved many listeners to tears. That
enchanting and romantic. In Greek mythology, Europe was at Paganini’s feet might be dismissed,
Euridice succumbed to the charms of Orpheus as as it has often been, as mass hysteria. But there
he sang and played on the lier, and in the Old were prominent figures among those ‘hysterics’:
Testament David played on the harp to drive away Schubert, Goethe, Rossini, Chopin, Schumann,
the evil thoughts of King Saul. In many operas and Meyerbeer, Liszt and Berlioz. Schumann, who was
plays in which a lover serenades his beloved, the in doubt for years about whether to pursue a
hero accompanies himself on the guitar or career as a musician or as a man of letters, finally
mandolin. In medieval times, however, some string decided to become a composer after hearing
instruments were already believed to possess Paganini play in Frankfurt am Main in 1829. And
sinister powers. In the ‘Danse Macabre’ (Dance of Franz Liszt was so beside himself after a recital by
Death), for example, the possessed fiddler sold his Paganini in Paris that he went into hiding for weeks
soul to the devil in exchange for ‘hellish’ musical to work frenetically on his own pianistic perfection.
skills. Similar things were said of the great Paganini composed all his pieces for violin and
nineteenth-century violin virtuoso Niccolò orchestra for his own use, keeping them secretly
Paganini. From his first spectacular performance stowed away. Consequently, most were published
this eleven-year-old violin prodigy took Italy and only after his death, and some not until recent
the rest of Europe by storm. His success as a decades. The first of his six violin concertos is a
virtuoso was due both to his mysterious, demonic virtuosic tour de force, demonstrating not only his
aura and to his unsurpassed technique, with incredible technical command but also his great
countless double stops, flageolets, pizzicatos, and talent for melody and drama. It breathes the spirit
his habit of playing only on the G string. A Viennese of Rossini, whose operas were enormously popular
critic claimed to have seen how the devil himself at the time. Originally composed in the key of E
wielded Paganini’s bow on stage. And in almost all flat major, Paganini tuned his violin a semitone up
writings about him, even the most reticent and so that he could play in D major, as it were, and
recent, one term always crops up: the wizard. Many thus execute complicated double stops that are
considered him to be the best violinist of their age. impossible in E flat while producing a brighter
In 1795 Paganini left his birthplace Genua to sound from his instrument. It was partly for this
study in Parma, but the violin teachers there reason that contemporaries said the concerto was
realised that there was nothing more they could ‘unplayable’. Today the work is always performed in
teach him. After an intensive period teaching D major.
12THE MELODIOUSNESS AND 31, on this recording, was Vieuxtemps’ own favourite
VIRTUOSITY OF VIEUXTEMPS concerto. He composed it when employed as a
court violinist in Saint Petersburg (1846-1851).
The next piece was written by the son of a weaver, Notable is the extensive introduction to the first
amateur violinist and violin maker from Belgian movement, lasting some five minutes, with promi
Verviers named Henri Vieuxtemps (1820-1882). nent roles for the winds, brass and timpani. Not until
A child prodigy, he enjoyed an outstanding career as this splendid earnestness (in moderate tempo) ends
a violinist from the age of six, studying in Vienna and does the soloist enter with a declamatory melody,
Paris (with Charles de Bériot) and touring Europe, followed by virtuosic double stopping which leads
Russia and the USA. From 1871 he was an influential into exchanges of lyrical and fervent moods. After a
teacher at the Brussels conservatory, where his long and turbulent cadenza, and a somewhat severe
pupils included Eugène Ysaÿe. But within two orchestral response, a sustained note on the horn
years, in 1873, a stroke caused lameness in his forms a transition to the slow second movement,
right arm, and Vieuxtemps was forced to withdraw Adagio religioso. Such religiously flavoured slow
from teaching. He spent his final years composing movements, like orchestral prayers, were typical of
in a sanatorium in Algeria, where his daughter had French and Belgian music of the mid-nineteenth
settled with her husband. Vieuxtemps was greatly century. Here we listen to one of the best examples,
admired by contempories such as Berlioz and a prayer on the violin full of surrender and ecstasy.
Paganini, whom he met in London. When Robert Then, inevitably, the lively Scherzo bursts in, a brilliant
Schumann heard him in Leipzig in 1834, he des and assertive movement reminiscent of certain
cribed the fourteen-year-old’s playing as magical acrobatic violin pieces by Saint-Saëns. Subsequently
and compared him with Paganini. the chorale-like opening of the concerto returns,
That was during a tour of Germany and Austria, though incompletely, since the orchestra soon
when Vieuxtemps was accompanied by his father. swerves into a festive march and the Finale proper.
After playing Beethoven’s Violin Concerto in Vienna, The soloist once more waits his turn, entering later
he decided to stay there for some time to study with a kind of recitative before taking up the march
composition with Simon Sechter, under whom theme and embellishing it with virtuosic passage
Anton Bruckner was later to study counterpoint. work and double stopping. It even seems as though
After his London debut in 1834, Vieuxtemps pur the violin infuses the march music with lyrical ingre
sued his composition studies with Anton Reicha dients, as if trying to pacify it for a moment. Entirely
in Paris, the fruits of which are particularly evident according to expectation, the march comes to the
in his First Violin Concerto, dating from 1836 (and fore once again, bringing the concerto to an impo
later published as no. 2). sing and victorious conclusion.
The Fourth Violin Concerto in D minor opus Clemens Romijn
13ZAUBERGEIGER AUS GENUA jedoch meinten, ihm nichts mehr beibringen zu
können. Nach einer Zeit des intensiven Selbst
Der Klang von Saiteninstrumenten gilt als tröstlich, studiums von bis zu fünfzehn Stunden am Tag,
berührend und romantisch. In der griechischen begann 1797 sein jahrelanger Siegeszug durch
Mythologie erlag Eurydike dem Charme von Europa. Mit seinen gefühlvollen Interpretationen
Orpheus’ Lyra und Gesang, und im Alten Testament brachte er zahlreiche Zuhörer zum Weinen. Dass
spielte David Harfe, um die bösen Gedanken von ganz Europa Paganini zu Füßen lag, könnte man
König Saul zu vertreiben. In vielen Opern und – was häufig getan wurde – als Massenhysterie
Theaterstücken, in denen ein Liebhaber seiner abtun. Doch unter diesen „Hysterikern“ befanden
Geliebten ein Ständchen bringt, begleitet sich der sich keine Geringeren als Schubert, Goethe,
Held auf der Gitarre oder Mandoline. Doch bereits Rossini, Chopin, Schumann, Meyerbeer, Liszt und
im Mittelalter wurden einigen Saiteninstrumenten Berlioz. Für Schumann, der jahrelang zweifelte, ob
dämonische Mächte zugeschrieben. Man denke er Musiker oder Schriftsteller werden sollte, war
etwa an den Danse Macabre, in dem ein beses ein Auftritt Paganinis im Jahr 1829 in Frankfurt am
sener Fiedler seine Seele im Tausch gegen über Main der Anlass, sich endgültig fürs Komponieren
natürliche Virtuosität dem Teufel verkauft. Ähnliche zu entscheiden. Und Franz Liszt war nach einem
Legenden rankten sich im 19. Jahrhundert um den Konzert Paganinis in Paris völlig durcheinander, zog
großen Violinvirtuosen Niccolò Paganini. Von sich zurück und war wochenlang für niemanden zu
seinem ersten spektakulären Auftritt als Elfjähriger sprechen, um wie ein Verrückter an seiner pianisti
an eroberte der Wundergeiger Italien und dann schen Perfektion zu arbeiten.
den Rest Europas. Paganinis Erfolg als Geigen Paganini schrieb seine Werke für Violine und
virtuose beruhte einerseits auf seiner geheimnis Orchester für den eigenen Gebrauch und
vollen und dämonischen Ausstrahlung, andererseits bewahrte sie sorgfältig in seinem Vorratsschrank
auf seiner unvergleichlichen Spieltechnik mit un auf. Gedruckt wurden die meisten seiner Werke
zähligen Doppelgriffen, Flageoletts, Pizzicati und erst nach seinem Tod, einige sogar erst in den
dem Spielen nur auf der G-Saite. Ein Wiener letzten Jahrzehnten. Das erste von Paganinis sechs
Kritiker behauptete, mit eigenen Augen gesehen zu Violinkonzerten ist eine virtuose Tour de Force, mit
haben, wie der Teufel Paganinis Bogen führte. Und der er seine unglaublichen geigentechnischen
in fast allen Schriften über Paganini, einschließlich Fertigkeiten sowie seine große Begabung für
der fundierten neueren, wird der Begriff „Teufels Melodie und Drama unter Beweis stellte. Es atmet
geiger“ immer wieder verwendet. Viele hielten ihn den Geist Rossinis, dessen Opern damals sehr
für den besten Geiger aller Zeiten. beliebt waren. Ursprünglich komponierte Paganini
1795 war Paganini von seiner Heimatstadt das Konzert in Es-Dur, wobei er die Geige einen
Genua nach Parma gezogen, wo die Geigenlehrer Halbton höher stimmte und seinen Part in D-Dur
14spielte. Das ermöglichte nicht nur komplizierte Dies geschah auf einer Tournee, die Vieuxtemps,
Doppelgriffe, die in Es-Dur unmöglich wären, begleitet von seinem Vater, durch Deutschland und
sondern verlieh der Geige auch einen brillanteren Österreich unternahm. Nachdem er Beethovens
Klang und war außerdem einer der Gründe, Violinkonzert in Wien aufgeführt hatte, beschloss
weshalb seine Zeitgenossen das Konzert für er, sich dort vorübergehend niederzulassen und
„unspielbar“ hielten. Heute ist es üblich, das Werk Komposition bei Simon Sechter zu studieren, bei
in D-Dur zu spielen. dem später auch Anton Bruckner Kontrapunkt
studieren sollte. Nach seinem Londoner Debüt im
Jahr 1834 setzte er sein Kompositionsstudium bei
Anton Reicha in Paris fort, was 1836 in Form
VIEUXTEMPS GESANGLICHKEIT seines Erstes Violinkonzerts (später als Nr. 2
UND VIRTUOSITÄT veröffentlicht) Früchte trug.
Das hier eingespielte Vierte Violinkonzert in
Das nächste Werk stammt vom Sohn eines d-Moll op. 31 war Vieuxtemps’ eigenes Lieblings
Webers, Hobbygeigers und Geigenbauers aus der konzert. Er schrieb es in seiner Zeit als Hofgeiger
belgischen Stadt Verviers. Sein Name ist Henri in St. Petersburg (1846-1851). Auffällig ist im ersten
Vieuxtemps (1820-1882). Er war ein Wunderkind, Satz die lange Einleitung von etwa fünf Minuten, in
begann bereits im sechsten Lebensjahr eine dem die Holzbläser, Blechbläser und Pauken eine
glänzende Karriere als Geiger, studierte in Wien wichtige Rolle spielen. Erst nach diesem wunderbar
und Paris bei Charles de Bériot und trat bei ernsten Abschnitt in moderatem Tempo beginnt
Konzert in Europa, Russland und den Vereinigten der Solist mit einer ausdrucksstarken Melodie,
Staaten auf. Ab 1871 war er einer einflussreicher gefolgt von virtuosen Doppelgriffen, was wiederum
Lehrer am Brüsseler Konservatorium, wo Eugène zu einem Wechselspiel zwischen lyrischen und
Ysaÿe zu seinen Schülern zählte. Doch schon zwei feurigen Passagen führt. Nach einer langen,
Jahre später, 1873, lähmte ein Schlaganfall seinen stürmischen Kadenz und einer etwas strengen
rechten Arm, und er musste seine Lehrtätigkeit Antwort des Orchesters bildet ein langer Ton im
aufgeben. Seine letzten Jahre verbrachte er als Horn die Brücke zum langsamen zweiten Satz,
Komponist in einem Sanatorium in Algerien, wo einem Adagio religioso. Solche religiös getönten
sich seine Tochter mit ihrem Mann niedergelassen langsamen Sätze, die wie orchestrale Gebete
hatte. Vieuxtemps wurde von Zeitgenossen wie anmuten, waren typisch für die französisch-
Hector Berlioz und Paganini, den er in London traf, belgische Musik der Mitte des 19. Jahrhunderts.
sehr geschätzt. Robert Schumann hörte ihn 1834 Hier hören wir eines der besten Beispiele, ein
in Leipzig, nannte das Spiel des damals Vierzehn Geigengebet voller Hingabe und Ekstase. Nach
jährigen magisch und verglich ihn mit Paganini. dem lebendigen Scherzo, einem brillanten und
15energischen Satz, der an die akrobatische Virtuosi tativ, dann mit dem Marschthema des Satzes,
tät von Saint-Saëns erinnert, wiederholt sich der virtuos und mit zahlreichen Doppelgriffen. Vorüber
choralartige Anfang des Konzerts. Doch nicht in gehend scheint es sogar, als ob die Violine mit ihren
voller Länge, denn das Orchester steigert sich bald lyrischen Einwürfen den Marsch zu beschwichtigen
zu einem festlichen Marsch, und damit beginnt das versucht. Doch wie erwartet übernimmt dieser
eigentliche Finale. Auch hier setzt die Solovioline wieder die Führung, und das Konzert endet mit
erst relativ spät ein, zunächst mit einer Art Rezi einem beeindruckenden Sieg.
Clemens Romijn
16DISCOGRAPHY
Channel Classics recordings of Ning Feng
CCS 80807 Hello Mr. Paganini
(with Thomas Hoppe, piano)
CCS 31210 Solo vol.1
CCS 34413 Solo vol. 2
CCS 34913 Bruch & Tchaikovsky (with Deutsches
Symphonie-Orchester Berlin)
CCS 37916 Apasionado (De Sarasate, Lalo,
Ravel, Bizet/Waxman, with
Orquesta Sinfónica del Principado
de Asturas)
CCS 39417 Schubert & Dvořák
(with Dragon Quartet)
CCS 39018 J.S. Bach Sonatas and Partitas
for solo violin BWV 1001-1006
CCS 40218 Elgar & Finzi (with Royal Liverpool
Philharmonic Orchestra)
CCS 40919 Borodin, Shostakovich, Weinberg
(with Dragon Quartet)
17COLOPHON
Production Technical information
Channel Classics Records Microphones
Producer, recording engineer, editing, Bruel & Kjaer 4006, Schoeps
mastering Digital converter
Jared Sacks Horus/Merging Technologies (DSD256)
Assistant recording engineer Pyramix Workstation/Merging Technologies
Tom Caulfield Speakers
Cover design Audiolab, Holland
Ad van der Kouwe, Manifesta, Rotterdam Amplifiers
Cover photo Van Medevoort, Holland
Lawrence Tsang Cables
Liner notes Van den Hul*
Clemens Romijn Mixing board
Translations Rens Heijnis, custom design
Stephen Taylor, Anne Habermann
Recording location Mastering Room
Auditorio Palacio de Congresos Príncipe Felipe, Speakers
Oviedo Spain Grimm LS1
Recording date Cable*
June 2017 Van den Hul
*exclusive use of Van den Hul 3T cables
Special thanks to Mr. Chong Long
for his generosity and support for
this recording.
www.channelclassics.com
www.ningfengviolin.com
www.intermusica.co.uk
18July 2019
Dear Sir / Madam,
Thank you for purchasing ‘Virtuosismo – Paganini & Vieuxtemps’! I hope you are
enjoying the recording. Keep an eye out for future releases with Ning Feng.
For a 25% Discount coupon code I invite you to sign up at our new website
via this page: channelclassics.com/welcome
On the website you will find the complete catalogue of the 400+ recordings that
I made over the past 29 years with the Channel Family of Artists including Rachel
Podger, Florilegium, Iván Fischer, Budapest Festival Orchestra, Holland Baroque,
Rosanne Philippens, Amsterdam Sinfonietta, Ragazze Quartet and many others.
Best wishes,
Jared Sacks
Founder, Producer, Engineer at Channel Classics Records
19NING FENG VIOLIN
PAGANINI & VIEUXTEMPS
VIRTUOSISMO
O R Q U E S TA S I N F Ó N I C A D E L P R I N C I PA D O D E A S T U R I A S
ROSSEN MILANOV CONDUCTOR
N I C C O L Ò P A G A N I N I (1782-1840)
V I O L I N C O N C E R T O N O . 1 I N D M A J O R O P U S 6 (1817-1818)
1 Allegro maestoso – Tempo giusto 22.48
2 Adagio 5.24
3 Rondo: Allegro spirituoso – Un poco più presto 9.31
H E N R I V I E U X T E M P S (1820-1881)
V I O L I N C O N C E R T O N O . 4 I N D M I N O R O P U S 3 1 (ca. 1850)
4 Andante – Moderato – Cadenza 9.58
5 Adagio religioso 6.54
6 Scherzo: Vivace – Trio: Meno mosso Tempo I 5.02
7 Finale marziale: Andante – Allegro 8.17
Total time: 68.20
Violin: Stradivari, the ‘MacMillan’, 1721You can also read
