Someone I know from an international musiccourse of La Pellegrina in teh Czech Republic http://www.pellegrina.net told that he would play the Violinconcerto of Glazunov with his orchestra in Groningen (and 1th symfony of Borodin and a piece of Glinka)http://www.deharmoniesite.nl , but it was quite far from where I lived. But for a rare violinconcerto I join this orchestra (+ 4 others during the week in the neighboorhood). I discovered that it was better to take the longer route1 (256km)to avoid all busy slow riding traffic in the centre of our country. When I started at 16.00 I was on time at 19.30 the beginning of the rehearsal in the evening, which was mostly on friday, so I did not have to work the next day. I drove over a road which seperated 2 sea's called "the lockdike" which is 32 km long.
The rehearsal was from 19.30 till 22.30 and it was possible to drove back in 2 hours, because the roads were quite empty late in the night
on route 2 over some roads over created islands in a sea that was seperated from the north sea by a big dike , called "the lockdike", where I drove on during route 1
So at .30 hour the next day I was home. My car is a Ford Fiesta 1.3. I have done this about 14 times for all rehearsals and the 3 concerto's
Our soloist Helbertine Hylkema played beautiful and she had to travel ever from a longer distance from The Hague to Groningen
The concertmaster drove a old Porsche 911 from 1986 and I asked whether I could drive in that car. Just like Birthe Blom (I could play on her STRADIVARIUS)she was easy and she drove me around the church where we had our concert in Groningen. AFter that short round of 1 km, She asked whether I would like to drive. After 1 starting mistake and searching for where to put the key (in the dashboard) I drove slowly in the 1th and 2th gear and felt the power of the car after pulling the right pedal.
AFter the concerts thay gave me this present for the hours of driving to play with them.
After the concerts I heard that an orchestra in the neighboorhood in The Hague will also play next half year the violinconcerto of GLAZUNOV, but Helbertine did not know anything about it, so I will have another soloist.
Usual you play as amateur in the evening after your work, but there is also an orchestra which plays in the morning. It is called "Carpe Diem", which is latin for "take/gather/pick your day" Most people are over 65 and have stopped working, but some peolple take a morning free for their work, like me and some others. The reason I did that is because they play a 'rare' symfony 9th Shostakowitz.
In the coffee-break thay have this card:
Hi, here a link of violinist.com member Jonathan Frohnen about his Naxos activities:
Naxos Starts New Series Dedicated to 19th Century Violin Music
By Jonathan Frohnen
As lead consultant for this series, Jonathan Frohnen is an expert on 19th century violin music, and an exclusive consultant to Naxos. In addition to being an authority on this subject, Jonathan works with musicians and librarians around the world to locate sheet music for Naxos to record. He is especially passionate about the music of Charles de Beriot, Henri Vieuxtemps, and Hubert Leonard and has a library of early editions to prove it! Above all, Jonathan is dedicated to locating and recording long forgotten music for the enjoyment of all.
Naxos is proud to announce a new series dedicated to 19th century Violin music. This series will introduce music lovers to a vast world of forgotten music composed exclusively by 19th century violinists. In one way or another every violinist/composer in this series has contributed to making violin music what it is today. Our goal with this series is to make sure that this music is never again forgotten, and that the grand art of 19th century violin playing lives on forever.
This series starts off with a bang as we release three recordings of music composed by the Belgian violinist Charles Auguste de Beriot (1802-1870). It is worth noting that the Belgian violin school starts with de Beriot, the teacher of Henri Vieuxtemps. Both violinist/composers are followed closely by Cesar Thomson, Pierre Martin Marsick, and most notable today, Eugene Ysaye. Unfortunately de Beriot is known today only in the teaching studio for his 7th and 9th concertos.
In our first album, Grammy-nominated violinist Philippe Quint reveals de Beriot as more than a composer of student works. Accompanied by the Slovak Radio Symphony Orchestra, Philippe has recorded the 2nd (The Russian Concerto), the 3rd, and 5th concertos. We hope that the brilliance displayed by Philippe along with the beautiful melodies composed by de Beriot will preserve the composer's name as not only a violinist of remarkable skill but as a composer of works worthy of the modern concert stage. This album marks the first CD recording of the 2nd and 5th concertos, while the 3rd concerto presented here is a world premiere release.
The second album in this series is the first volume in our effort to record the complete solo works of de Beriot. Peter Sheppard Skaerved presents an album of brilliant solo works that were composed late in de Beriot's life. Selected for this recording, are the op.109 '12 Scenes ou Caprices'; 9 Caprices extracted from the finishing school op.102, and the posthumous Prelude ou Improvisation. While op.109 demonstrates de Beriot's imaginative writing, the Prelude ou Improvisation demonstrates his complete mastery of the violin. All of these solo works are making their world premieres on this album.
Finally, our third release of de Beriot works is dedicated to duos for two violins. For this recording we have chosen to offer the op.57 '3 Duos Concertantes'; and the world premiere recording of the op.113 'Airs Espagnols'. While the pieces in op.57 are on a grand scale and represent some of the best writing for two violins, the pieces in op.113 are a little on the lighter side and show de Beriot's playful side. The violinists for this album are Peter Sheppard Skaerved and Christine Sohn.
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