Igor Strawinsky: Violinkonzert (Speakers Corner)
Stravinsky had long hesitated to write a concerto for the violin. He was not familiar enough with the specific characteristics of the instrument, and the challenges involved in creating a larger work for the violin were too problematic. The fact that Stravinsky did get down to work after all is due not least to the persuasion of Paul Hindemith and the support of the violinist Samuel Dushkin, who gave valuable advice during the making of the work.
The Violin Concerto in D, with its four-movement structure and movement titles such as Toccata, Aria and Capriccio, already bears witness to Stravinsky's intensive preoccupation with Baroque forms, which he shapes with rhythmic-metric wit and irony. Although the piece, in the words of the composer, "stinks of the violin", the ensemble also speaks as a soloist in a manner reminiscent of the Concerto grosso.
The author Ernst Müller (Analog Audio Association-Bulletin) cheers euphorically about the "revealing character" and the enormous dynamics of this Columbia recording. "You can hear all the details, the winds are precise, the orchestra accompanies simply grandiose."
"The personal union of conductor and composer alone makes this recording unique - historically, interpretatively and musically highly exciting (LP magazine, 2 / 2016)
"A record that's fun to listen to, the violin sound has more melodiousness..." (Fono Forum, April 2016)
A Violin Concerto In D Major (1931)
B Symphony In Three Movements (1945)