Praeludium
and Allegro in the Style of Pugnani
@Jean, how did you make yours clickable?
you type something like the following:
<a href="link address">text that you can click on</a>
so you replace "link address" by the link address, keeping the double quotes. in "text you can click on" you can type something descriptive, e.g., the title of the video. for example for your YouTube link, you could type:
<a href="https://www.youtube.com/watch?v=6JEtsSfEFPY">Praeludium
and Allegro in the Style of Pugnani</a>
Here is a YouTube link (sound only):
https://www.youtube.com/watch?v=HGgBh15RFRc
I just heard this one the other day and quite liked it:
At the top of the third page, there's a pattern that uses two hooked staccato notes after a trill.
It's probably just my own technical limitation, but I eventually realized that those two hooked notes were really causing me a speed bump. So I simply eliminated them and played the passage as it comes. It all works out in the end anyway.
I seldom hear the opening phrased in a very interesting way. Maybe it's the large jumps that discourage a more melodic line. I found that with the Wilkomirska recording above--just sawing away on all the notes equally.
I also found her lack of bow stroke variety in the allegro little boring. Why not more off the string in some places? Especially the opening--too legato for me.
I personally like the smoothness and cleanliness of the allegro as a feature, which has an elegant quality that still doesn't stop the cadenza section from having some fire. I guess adding a rustic quality with more off-the-string doesn't fit with my notion of the piece.
I always wonder how Kreisler would have played it. I wonder if that bowing comes from a certain notion of baroque playing from the time period (Not that there seemed to be a HIP movement yet), or of Kreisler's subjective approach.
Tasmin Little here seems to have a similar quality to my ears here with the score (presumably the edition reflects the original)
Also, remember that you're talking about a brilliant prodigy who was probably working her way through the warhorse romantic concerto literature at the time. In other words, she chose the P&A because it was short, sufficiently showy, and with an orchestral accompaniment that is "barely there," but also probably it was a very easy number for her to play at the time.
I wonder how many people, watching that little girl in her ordinary blue dress and striving desperately to saw her violin in half, would have predicted she would grow up to model for Chanel.
https://www.youtube.com/watch?v=8lzj_sLQvcQ
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