From someone I know by www.violinist.com , Carlos Majlis, I got this cd. I had a recording of opus 12 Poeme elegiaque for violin and piano from Frank Peter Zimmerman with also the well known sonata op.27 (Ballade etc, first round candidates of the Queen Elisabeth competition had to play one sonate of the 6 of opus 27), but this version for violin and orchestra of opus 12 Poeme elegiaque is much richer in tone. Also his posthumus violinconcerto nr.8 (are there 7 more?) is good. I wrote to the manager of Albrecht Breuninger Rod Sudbrack and he told that CPO will release the official cd in February/march 2006. I hope there will be no new delay, because it is great music. I know already Chant d’hiver op.15 from a recording of Aaron Rosand on Vox Box, also a great piece. Both pieces make me think of Poeme of Ernest Chausson, which I play soon with an amateurorchestra and a student of the conservatory, who was concertmaster of this amateurorchestra.
This violincard I found last week in a shop in our village. It is becoming Christmas time, so here a brand new violinChristmascard. Prettige Kerstdagen en een gelukkig nieuwjaar means: Merry Christmas and a happy new year.
Last year we played with an amateurorchestra in the big concerthall Rudolfium in Prague, Czech republic. We played 1th celloconcerto of Shostakovitsch with the fisrt celloplayer of the Royal Concertgebouw orchestra Godfried Hoogeveen and the 8th symfony of Dvorak. But the hall was sounding like a church with a too long echo. On the long stairs uphill too the old city I found this iron violinist made of bolts and screw nuts and rings and pieces of iron. Also I found a pencilsharpener on that bridge.
After Janacek-beer, Vieux Temps-beer and Saint-Saens-wine I found Bach wine as musical drink.
I don’t know whether Johan Sebastian Bach has ever tasted the wine of the region Masia Bach Penedes near Barcelona, Spain? I found this red wine with the name of this great composer, funny as a gift to violinists. Text on the backside of the bottle says: “Aged in American oak during 6 months. Cherry red colour with ruby hints. Wide bouquet of fruits and vanilla. Balanced, persistent, rounded tannins. Serve between 16-18 °C.”
On the frontside the text says: Put in the bottle: Masia Bach, 08635 BARCELONA , Spain. EMB. 421-B R.S.I. 30-1715B. 75 cl. Alc. 12,5% vol BACH Vina Extrisima 2000 CATALUNYA Denominació d’Origen.
It is a quite strong wine. The Saint-Saens wine is lighter with more a blackberrytaste.
Often I give a bottle of musical drink to violinists. Apart from Vieux Tempsbeer, I found Saint-Saens-wine.
Translated from the Dutch wine shop-paper: The French musician and composer Camille Saint-Saens liked to come to visit Beziers in France, not only to make beautiful music, but also to visit the ancestors of Henri Fabre Luce. They were close friends with each other and when Saint-Saens was in the neighbourhood of Beziers he stayed the night in Domaine de la Gineste. As homage to this great musician, the present-day owner Henri Fabre Luce made a special Saint-Saens-wine with a musical label. The wine is made of 100% old merlotsticks and a part of the wine has been ripen in oakwood-barrels.
Tastenotices: The color is deep darkred, aginst the cassis. The perfume is explosive with parts of ripe berries and blackberries and a light taste of wood. The taste is full and powerfull, but also soft and smooth. Drinkingadvice: now till 2007.
Vengerov is the sort of player who like to play the evergreens violinconcerto’s. When I heard him (with my parents) he played Beethoven v.c with own candenza and Sinfonia Concertante of Mozart. He is a good showman and good violinist, but like Hilary Han who recorded Meijer and Barber I don’t think he will ever record much ‘rarities’. So a bigger chance that Hilary Hahn will ever some of my list of never recorded violinconcerto’s.
I heard Hilary Hahn in Rotterdam where she played Elgar. After the concert I gave her some rare of violinconcerto’s, which I also gave to Maxim Vengerov after a concert and the same letter as for Vengerov with never recorded rare violinconcerto’s. She is a good professional, but I am not a specialist or critical of a newpaper about different professional styles and schools, but the reason for my visit to the concerthall was that ‘someone’ played the relatively rare violinconcerto of Elgar. If Hilary would have played Tjaikovsky, 1th Bruch or Beethoven violinconcerto’s there would be no reason for my concertvisit and I would stay at home listening to her recording of the relatively rare v.c.’s of Barber and world premiere recording of the obscure Meyer violinconcerto. It is great that she dare to record such obscurities, which will sell of course less better than the 100th recording of the violinconcerto’s of Brahms and Beethoven, together on one cd. Another terrible combination is 1th Bruch and Mendelssohn in e. Much better is to play next to 1th Bruch the 2th,3th Bruch or Scottisch Fantasy or Mendelssohn in e combined with Mendelssohn in re, the less well known v.c. of Mendelssohn.
Here 2 cd’s with handsigns. I have made t-shirts of these cd’s. In 1997 I played the violinconcerto of Brahms with an amateurorchestra with Janine Jansen, who was 19 years old that time. But now she is so busy and graet that she only plays with professional orchestra’s.
I made of handsigns on cd’s T-shirts. I will show Sonja van Beek my T-shirt to her tonight, because we have a rehearsal with an amateurorchestra and she will play with us the VIOLINCONCERTO of PHILIP GLASS!!
Here the handsigns of Sonja van Beek and Liza Ferschtmann. From both cd’s with handsign I have now T-shirts.
Some days ago I found again a violincard in a shop. In the case of people who sent me cards were also a card of Beethoven and the Hungarian State opera house in Budapest. On the last card the Dutch language means: Your entrycard for the Concertgebouw in Amsterdam and the Citytheatre is also entrycard for tram, bus metro, 3 hours before and 4 hours after the concert.
(about violincards part 4: )
You are right, Neil Cameron. On the backside of the card with the instrument on the wooden floor was: Steve Martin (born 1950) 1984/Hello cello! You can see the iron pin and you miss the black chinthing.
On the card with the eggs, citrons, they wrote on the backside: Rein Pol, Netherlands violin with eggs, 1979 oil on panel 41x56 cm. A still life painting.“Van harte gefeliciteerd” means: hearty congratulations. “En een fijne dag gewenst” means: and have a nice day.
I have also 2 2-dimensional so called pop-up cards. It was difficult to make a scan which shows 3 dimensions, but it is a strange effect to see the violin going down when you open the card. Perhaps I have to make a foto of these 2 cards and of the foto a scan next time.
In the case with all cards that people have sent to me in my life, I found 3 old cards with violins on it. Hartelijk gefeliciteerd means: Hearty congratulations. On that last card the sheetmusic is from Mendelssohn. The sheetmusic on the first card is from Handel.
Here again some violinpostcards from my collection. One with composers Haydn and Bach. “Prettige kerstdagen en een gelukkig nieuwjaar” means: Marry Christmas and Happy New year.
I found on internet again a bromineoiloverprint of a foto made by photographer Henri Berssenbrugge. But this foto of 1915 of Odette Myrtil is not on a postcard as far as I know.
This I found on internet about Odette Myrtil:
MUSICIAN, STAGE & SCREEN ARTIST
BORN: January 1, 1898, Paris, France
DIED: September 19, 1978, Doylestown, Pennsylvania
Odette Myrtil, born Odette Belza in Paris, France, was the child of two stage performers. She was raised on the road, traveling with her parents until they enrolled her in a school in Brussels to study the violin. Her lessons were so successful that she began performing on stage at the age of 14. In 1915, she was invited to perform in Ziegfeld Follies in America, which led to numerous musical roles on Broadway, most of which incorporated her skill as a violinist, such as in Countess Maritza, 1926, and White Lilacs, 1928. One of the highlights of her career was acting the title role of Odette in Jerome Kern's The Cat and the Fiddle, 1931, written especially for her. She went on to appear in more than 25 movies, including Dodsworth, 1936, and I Married an Angel, 1942.
In 1955, Odette visited New Hope and fell in love with the town. She ended up staying for three years, managing Don Walker's The Playhouse Inn located next to the Bucks County Playhouse. She returned in 1961 and bought The River House restaurant, re-naming it Chez Odette, which she successfully managed for 15 years, selling it three years before her death in 1978.
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