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In this work Poulenc allotted to the piano (his own instrument) rather more than equal status in the duo – a situation rather paralleled in the lighthearted Cello Sonata, over which the composer dallied longer than any other of his works – but balance in both is finely judged by the performers and the recording team. A hint of the guitar's tuning at the start of the second move- ment is almost the only Spanish reference in the Violin Sonata, which was composed in memoriam the poet Lorca, whose loss is bitterly suggested in the angry finale. There's a touching reading of the little Sarabande for guitar.
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The Elégie for Dennis Brain was a not altogether convincing experiment in dodecaphony: Poulenc had earlier dabbled in atonality and polytonality in the little sonatas (really sonatinas) for, respectively, two clarinets and for clarinet and bassoon. All are given idiomatic, sensitive and satisfying performances by the Nash artists. The latter characteristic is most in evidence in his most enduring chamber works: the solo wind sonatas with piano, all three of which were in the nature of tombeaux, the Flute Sonata for the American patron Mrs Sprague Coolidge, that for clarinet for Honegger, and that for oboe for Prokofiev. Like the Trio (whose opening reveals Stravinskian influence), it's a mixture of the composer's madcap gamin mood and his predominantly melancholy bittersweet lyricism.
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He knows, for example, how to control Poulenc's boisterous piano writing in the Sextet without sacrificing the sparkle, and as a result the work coheres better than ever before. Invidious as it may seem to pick out just one of these excellent artists, special mention must be made of Ian Brown, who plays in nine of the 13 works included and confirms his standing as one of the most admired and musicianly chamber pianists of our day. SUNDAY AUG| 4:00 AM (ET) TIBOR VARGA INTERNATIONAL VIOLIN COMPETITION OPENING ROUND PART 3
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1 in B minor | Sarabande-Double & Bourree -Double 3 in E major | Loure & Gavotte en Rondeau SATURDAY AUG| 4:00 AM (ET) TIBOR VARGA INTERNATIONAL VIOLIN COMPETITION OPENING ROUND PART 1 Saint-Saens | Caprice d'apres l'etude en forme de Valse.Saint-Saens | introduction and Rondo Capriccioso.TUESDAY AUG| 7:00 AM (ET) TIBOR VARGA INTERNATIONAL VIOLIN COMPETITION SEMI-FINAL ROUND PART 2 MONDAY AUG| 8:00 AM (ET) TIBOR VARGA INTERNATIONAL VIOLIN COMPETITION SEMI-FINAL ROUND PART 1 THURSDAY SEPTEM| 2:00 PM (ET) TIBOR VARGA INTERNATIONAL VIOLIN COMPETITION FINAL ROUND PART 1 (CHAMBER MUSIC) Maria Ioudenitch (25, United States) | Sergey Krylov & Lithuania Chamber Orchestra Tchaikovsky | Violin Concerto in D major.Tassilo Probst (19, Germany) | Sergey Krylov & Lithuania Chamber Orchestra 2 A common thread in Satie’s musical aesthetic was a conscious re- evaluation of the aims of music, and his style was marked. Lorenz Karls (20, Sweden) | Sergey Krylov & Lithuania Chamber Orchestra Erik Satie1 Enigmatic and iconoclastic French composer Erik Satie (18661925) influenced many of his contemporary composers, including Debussy, Milhaud, Poulenc, and Ravel, and Stravinksy’s neo-classical period. SATURDAY SEPTEM| 2:00 PM (ET) TIBOR VARGA INTERNATIONAL VIOLIN COMPETITION FINAL ROUND PART 2 2020 - Chaque jour faites votre pause Classique Vous souhaitez recevoir chaque jour votre 'Pause Classique' Inscrivez-vous la newsletter Radio Classique. The jury will also feature Konstantin Lifschitz and Marc Coppey, who will play with the finalists in a trio during the chamber music round. This year's jury members include Salvatore Accardo (President), Kolja Blacher, Friedemann Eichhorn, Koichiro Harada, Yuzuko Horigome, Ida Kavafian, and Pavel Vernikov.
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The first prize winner will receive CHF 20,000 as well as a number of concert engagements. This year's 28 candidates were selected from 124 young musicians. Held biannually, the competition is open to international violinists under 26 years of age.