Some impressions of an amateurviolinist and regular concerthallvisitor of The ELISABETH-COMPETITION.
I listened two days -5,6 may-,the first round of the Elisabeth competition, specially to hear in the concerthall the sonates of Bach and the 24 different choosen caprices of Paganini. The difference between the candidates was not so important for me -most of them were good or very good-, but I hate the bell because a Japanese guy and a Greec one couldn’t play their whole first round. 5 may is the national Dutch liberationday from the second World War, so I had a free day and I could not work on 6 may, because our Machinefactory was closed between 5 may and the weekend of 7,8 may. On 9,10,12 may I heard the semi’s in the evening, specially to hear Ysaye in the concerthall (at home I have a cd of Frank Peter Zimmermann of Ysaye). The 11th and 13th may I must play 2 concerts with an amateurorchestra and on the 12th I had an appointment, so I missed on those days the semi’s. After my work I immediately drove with my car from a village near Rotterdam to Antwerpen and then over the A12 to Brussel, where I parked my car just outside the cityring without parking money and took my folding bike out of the back of my car and biked to the conservatory in Brussel. After the semi’s again back on the bike to my car and driving back home in Holland because I had to work the next day. In the conservatory in Brussel I saw statues of my idols Henri Vieuxtemps (I have his 7 violinconcerto’s on cd) and Jeno Hubay (I have his 4 violinconcerto’s on cd from the Hungarian Vilmos Szabadi www.szabadi.com ) and a foto of Eugene Ysaye ( Albrecht Breuninger, 2th price Elisabeth will soon record all pieces of 9 minutes for violin and orchestra of Ysaye like Chant dhiver’op. 15).One our after my arrival from a holiday I drove with my car again to Brussel to the last evening of the finals and I heard two times 1th Shos. 1 time Shos that goes, because I heard the piece for the first time in the concerthall (and I know it from a cd), but 2 times is a bit much. It has even 6!! times been played. Why not his second violinconcerto? Why always this first one, which isn’t very special. I have played the 13th symfony of Shos, Babi Yar, this year with an amateurorchestra. THAT was a great piece. Why always this non-critical herd-animal behaviour. For the public (like me as amateurviolinist) it is boring to hear the same concerto’s all the time. But we know the process and the vicious circles and often the false arguments and laziness to play something original (and often beautiful, but unknown) violinconcerto’s. The violinconcertorepertoirelist, “Violin repertoire”, is also much to short on the right side of the homepage of this website. So please make it larger.On this “Violin repertoire”, where of course the second violinconcerto of Shostakovitch IS MISSING!! Why in godsname???? I have both violinconcerto’s of Shostakovitch on a Naxos-cd, played by Ilya Kaler. When I turn this cd I don’t hear quality differences between these two. A lot of violinteachers have a poor violinconcertorepertoireknowledge and teach their pupils the same pieces. I rather hear a bad violinist with a bad intonation and a bad strike like the Greec guy on 5 may and the Japanese guy op 6 may, who get after one or two pieces the bell, who play an unknown violinconcerto in the concerthall, than a very good finalist playing the evergreenviolinconcerto’s.I hope that the violinconcertoreperoirechoice of the finalists in 2009 will be more original and that the jury will give more points for orginal repertoirechoice in their judgement. And please stop ringing the bell in the first round. It is good for the public to hear a bad candidate to understand how good other candidates are and how difficult the pieces of the first round are.
And I think after the fell down of 800 meter runner Dalibor Karvay at this Olympics in the semi’s, by the jury (just like in Olympic gymnastics) he will reach the finals in the next ElisabethOlympic800-final of 2009 and perhaps he will take the gold medal and will hear the national anthem. And why agediscrimination till 27 if you want to compete when you are 40, which is also possible at the Olympic games? Ok in 800 mter running there are differences, because of the physical differences of man and woman, which disappear when both sexes play the violin. I also missed big names in the jury. Ok, enough emotions, impressions, criticism and double Dutch for you professionals and violinstudents of me, fiddler on the roof.
But nevertheless it was a special happening to be part of the public in this competition compared with a normal concert in the concerthall.
Hello. I have a screensaver of André Rieu and a (soccer-)Rieuconcertshawl, because I am a fan and will go for the 3th time to his concerts. Why? Because he earns his own money, as a former second violinist of a professional orchestra, with walses and polka’s older people like and doesn’t need moneysupport of the government like all serious professional orchestra’s. Do you think I am crazy, because I have also visit the Elisabethcompetition in Brussel this year several times, or do you hate me for his reason?
WHY ALWAYS THE SAME VIOLINCONCERTO’S ON VIOLINISTS REPERTORELISTS? Why is on this website the violinconcertolist ("violin repertoire", at the right side next to violin discussion") so short, while the violinconcertorepertoire is so rich? Why is the violinconcertorepertoireknowledge of professionals so poor? Why does I, as a simple amateurviolinist (and violinconcertocollector), playing at a much lower level than most of you professional violinplayers visiting this website, knows much more violinconcerto’s than profesional players. Why does nearly no professional player knows that a well known violinplayer Jascha Heifetz has recorded the 2th violinconcerto of Mario Castelnuovo-Tedesco? Why does a professional violinist Tjeerd Top from the Netherlands says about this violinconcerto that it is quality in an unknown area (for him, not for me)? Why do you always hear the same silly violinconcerto’s in concerthalls? Why does a Dutch violinist, also from an professional orchestra in the Neherlands, who played the too much played 3th Siant-Saens (why never the first or 2th Saint-Saens, apart from Philippe Graffin?) with one of the many amateurorchestra’s I played in, says: The 2 concertos of Von Dohnanyi played by Szabadi impressed me even more, It was breathtaking! The second concerto in C minor is such a great work. It's a little bit Bartokian but much more lyrical than Bartok. The Hungarian violinist Vilmos Szabadi, has recorded a lot of World Premiere Recordings like this second Dohnanyi violinconcerto,. I also like his first violinconcerto, but the chance I will ever hear it in a concerthall is nearly zero. . He has recorded the 4 violinconcerto’s of Jeno Hubay and 2 violinconcerto’s of Leo Weiner. Do you know the 3th Jeno Hubay op.99? Aaron Rosand has recorded it also. Dutch professional Tjeerd Top says about this 3th Jno Hubay: This is really a very good concert!!!(which of course he didn’t know. Hey guy: what did you do at the conservatory all those years? Oh, you listen only to 10 different versions of the Brahms concerto and you never go to the cdmusic library listening to Takako Nishizaki, who made a lot of world premier recordings for Naxos, so for that reason Takako Nishizkai is for me the biggist violinist of the world) Pei Pei Zhu agree with me: “I wish I could do more to bring some FRESH AIR into violin concerto's repertoire, but how??? This is my big frustration. You are absolutely right about violinists and their repertoire. But in the other hand you should know that a violinist like me, which hasn't a BIG NAME, it's very difficult to impose his own choice of program. It's already so rare to be asked to play a concerto with an orchestra. I'm in Het Residentie since almost 9 years, but never had chance to play with the orchestra.” That is also a fact for professionals. Most of them will become teachers or chambermusicviolinists or tutti-players as second or first violinist in professional orchestra’s and will seldom play violinconcerto’s. If they play them it will be with amateurorchestra’s and seldom with professional orchestra’s. Why is always the violinconcerto ‘symfonie Espagnole’ from Eduard Lalo played so often and does nobody knows his (violin)Concerto Russe op.29 or his violinconcerto op.20 in F or his Norwegian Fantasy ( a piece of 3 parts for violin and orchestra), which are also great pieces and not minor to his ‘symfonie Espagnole’. And why always these silly Mozartviolinconcerto’s Ever heard of the ‘Black Mozart’ Joseph Boulogne, called Chevalier de Siant-Georges, one of them recorded by Rachel Barton on her cd “black violinconcerto’s of the 18th and 19th century”? Ever heard of the beautiful romantic violinconcerto of the black composer Samuel Coleridge-Taylor, recorded by Philippe Graffin?Be ashamed of your poor violinconcertrepertoireknowledge. When will I ever hear in concerthalls the 6th Nicolo Paganini or the 7th Henri Vieuxtemps or the 2th of Ernst von Dohnanyi or the 4th Jeno Hubay or the 4th Karol Josef Lipinski, the last one recorded only by Albrecht Breuninger or the 2th Joseph Joachim, recorded only by Aaron Rosand, Rachel Barton and Elmar Oliveira (Takako Nishizaki recorded his 3th for Naxos, Joseph Joachim fist violinconcert has never been recorded!!!) Please give me answers on this website, because I am very frustrated a lot of professionals are too lazy to choose original beautiful violinconcerto’s, because they never buy unknown beautiful violinconcerto’s or go to a cdmusiclibrary and don’t know about the richness of the violinconcertorepertoire. I have helped you by putting my violinconcertorepertoirelist of cd’s on this website, yesterday 17 may. So good luck with it.
Hello. I am an amateurviolinist who is collecting violinconcerto’s on cd (now 85 cd’s). Who knows them all and who knows rare violinconconcerto’s I don’t have? Some violinconcerto’s are played too often in concerthalls, both with professional as amateurorchestra’s (with an professional violinsoloist), and are recorded too often on cd. For example Bruch (first one, I played it 3 times as second violin), Beethoven (2 times), Mendelssohn (in e, 3 times I played it, in re once), third Saint-Saens (3 times, 2 times as second and one time as first violin), Tjaikovsky (1 time), Brahms (2 times, one time in 1997 with Janine Jansen). I also played 2th Prokofiev, 2th Bartok, 2th Wieniawski, Dvorak. But there are MUCH MORE BEAUTIFUL VIOLONCONCERTO’S you seldom hear in concerthalls unfortunately. Some are never recorded, so perhaps a professional violinplayer can record them for me, so I can buy them in a shop. Sorry for the room it takes on this website, but here is my list of NEVER recorded cd’s and recorded cd’s:
NEVER RECORDED VIOLINCONCERTO’S ON CD:
The first violinconcerto of Karol Josef Lipinski (1790-1861)
The first violinconcerto of Joseph Joachim (1831-1907)
The second violinconcerto of Karl Goldmark (1830-1915)
First part of the 8th violinconcerto of Henri Vieuxtemps (1820-1881)
www.classical-composers.org than V than Vieuxtemps (that is my source)
The violinconcerto of Nikolaj Borisovitsj Yoessoepov (1827-1891) (a pupil of Vieuxtemps), also written as Youssoupov or Joessoepov
The 2 violinconcerto's of Ole Bull (1810-1880) (one slow part of these 2 has been recorded by Naxos on the cd "Norwegian violin favorites")
The 2 (unpublished) violinconcerto's of Camillo Sivori (1815-1894) (pupil of Paganini)
The 9 violinconcerto's of Pierre Baillot (1771-1842)
violinconcerto's 2-7,10 of Charles Auguste de Beriot (1802-1870) (I have the 7th from Naxos of Maud Powell violin/piano recorded in 1915, but there is no version of violin/orchestra)
The Dutch composer Willem Pijper has written a violinconcerto in 1939, which is never recorded on cd. On this Dutch site they mentioned this violinconcerto: http://www.klassiekemuziekgids.net/componisten/pijper.htm
Delibor Karvay as 13th finalist of the Elisabeth violincompetition in Brussel?
I think the jury of the Elisabeth violin competition in Brussel made a mistake not letting the Slowakian 19 year old Delibor Karvay in the final of Elisabeth. Perhaps he can play on 22 may as 13 th finalists or at 17.00 one dag during the finals from 23 till 28 may, which are from 20.15 each day with 2 candidates, because his bowing is better than Mikhail Ovrutschy (who played some false notes in the semi’s) and Andreas Janke? In an athletic competition they have 9 lanes for the case 2 persons in the semi-finals have the same time, so that not 8 but 9 people can compete in the final. I was not the only persons with irritations about Dalibor, although I have not seen all the candidates, but many. Also Mark Janssens of KLARA-radio was irritated that Dalibor Karvay was not in the final (teletekstpage 836 of Belgian television Canvas) I have seen Delibar Karvay in the first round en twice in de semi-finals (for his Mozart-concerto and the rest of his semi-finals program) and he played very well both his left and right hand. I thought that Delibor Karvay and Sergei Khachatatryan were the favorites for the first and second place in the final.