Fantasies, Rhapsodies & Daydreams

Arabella Steinbacher, Orchestre Philharmonique de Monte Carlo

19.9927.49
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Original Recording Format: DSD 64

 

Less than a century ago it was still very common that great violinists like Heifetz, Kreisler, Menuhin etc. played virtuosic pieces in their concerts, very often also their own transcriptions. Nowadays these pieces are unfortunately rarely played in concert halls, sometimes with the reason that this kind of repertoire is “not serious enough”, which I find is really a pity and also not true. Usually violinists study this repertoire at a young age to expand their technical ability on the instrument but afterwards, they tend to focus more on Concertos and Sonatas. I have to admit that the last time I myself played this repertoire was before I was even a teenager, and I had almost forgotten about it. 

However, every time I work together with Larry Foster, he is full of stories about Jasha Heifetz from their time together in the 1960s and it is like being taken to another world. Then suddenly the idea came to us; why not make a recording full of these pieces like in the “old days”? 

Tracklist

1.
Carmen Fantasie
00:11
2.
Zigeunerweisen, Op. 20
00:09
3.
The Lark Ascending
00:14
4.
Havanaise, Op. 83
00:11
5.
Introduction et rondo capriccioso in A Minor, Op. 28
00:09
6.
Thaïs - Méditation
00:05
7.
Tzigane (version for violin and orchestra)
00:10

Total time: 00:01:09

Additional information

Label

SKU

PTC5186536

Qualities

Channels

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Artists

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Composers

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Genres

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Mastering Engineer

Polyhymnia

Conductors

Original Recording Format

Producer

Job Maarse

Recording Engineer

Erdo Groot

Recording location

Salle Yakov Kreizberg of the Auditorium Rainier III, Monte-Carlo

Recording Software

Mergin

Recording Type & Bit Rate

DSD64

Release Date September 2, 2016

Press reviews

The Arts Fuse

There’s much to admire, generally, about violinist Arabella Steinbacher’s playing. Her technique is impressive, articulations precise, and tone nicely varied. She clearly understands what she performs and the supple lyricism of her interpretations generally suits the canon well.

She also brings out lots of the hairy details in Ravel’s Tzigane, throwing down muscular fistfuls of notes in the opening cadenza and making reams of hay out of the several passages of double-stop artificial harmonics that pop up throughout the score.

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