Jelly d’Arányi Video
violinista ungherese naturalizzata britannica
Commemorazioni 2025 (Nascita: Jelly d’Arányi)
- violino
- musica classica
- Regno Unito, Ungheria, Regno Unito di Gran Bretagna e Irlanda
- musicista
Ultimo aggiornamento
2024-04-28
Aggiorna
Jelly Arányi Bos Fritz Kreisler Beethoven 1929
Fritz Kreisler Rondino on a Theme of Beethoven. Jelly d'Arányi (violin), Coenraad V. Bos (piano). Columbia 5427, August 1929.
Béla Bartók Isaac Stern Yefim Bronfman Debussy Ravel Auner Eduard Steuermann 1921 1922
Sonata for violin & piano No. 1 in C sharp minor, Sz. 75, BB 84 (Op. 21), (1921) I. Allegro appassionato II. Adagio III. Allegro Isaac Stern violin Yefim Bronfman, piano Béla Bartók wrote both of his violin sonatas for the Hungarian violinist Jelly d'Aranyi. Of the two works, the Sonata No. 1, Op. 21, is more traditional, both in structure and temperament; its three clearly delineated movements are marked by a character that is alternately rhapsodic and violent, but always virtuosic. Despite any appearance of conventionality, however, the sonata represents one of Bartók's most radical statements in its expressionistic rhetoric and its near-atonal harmonic and melodic language (notwithstanding the nominal indication that it is in the key of C sharp minor). The arresting opening bars are underpinned by fast, dissonant arpeggios from the piano that evoke the sounds of the cimbalom, a dulcimer-like instrument from Bartók's native Hungary. The violinist's first statement is broad and chromatic, a passionate declamation in a setting of nocturnal fantasy. Both harmonically and melodically, these opposing elements recall Bartók's contemporaneous stage pantomime The Miraculous Mandarin, completed in piano score two years previously. The movement is discursive and often impulsive; while there is confluence and cooperation between the two instruments throughout, thematic material is rarely shared. In this highly dissonant context, the occasional consonance sounds peculiar. A subsidiary theme, for instance, features the interval of a major sixth; often perceived as almost cloyingly sweet, it here emerges in an entirely different light. A searching cadenza-like solo passage for the violin opens the second movement. The piano eventually joins in with a series of ascending chords, no less unsettled for their limpid, impressionistic sonority; even in the turbulent setting of this work, Bartók's debt to the music of Debussy and Ravel is evident. A middle section is ominous and imposing, with frightening, arpeggiated octaves in the piano, increasing in volume as if some catastrophe were imminent; the violin, meanwhile, cries out in double stops and chords. The octaves recede, giving way to the desolate air of the opening. The finale is a series of increasingly wild dances, folk-like in style but wholly expressionistic. Bartók here makes his greatest demands upon the players' virtuosity and stamina as he leads them through a series of episodes that, however abstract in nature, arrange themselves roughly into a rondo form. Midway through is a grotesque pesante section marked by a thick and heavy stamping tread in the piano and detached skirlings from the violin in diffident response. The frenetic dance rhythms return, bringing the work to a grim conclusion. The Sonata No. 1 was premiered in Vienna by violinist Mary Dickenson-Auner and pianist Eduard Steuermann; d'Aranyi and Bartók first performed it at a private recital in London's Hungarian Legation in March 1922. [allmusic.com] Art by Wolf Vostell
Ethel Smyth Fischer Jelly Arányi Henry Wood Hayward Sir Thomas Beecham Holloway Brahms Tchaikovsky Grieg Edmond Polignac Somerville Woolf 1889 1893 1906 1912 1922 1927
00:01 1.Allegro moderato 09:15 2.Elegy (in memoriam): Adagio 15:13 3.Finale: Allegro Kateryna Timokhina violin Konstantin Timokhine horn Orchestra Society of Zurich (Orchestergesellschaft Zürich) André Fischer conductor Live Concert on 20.November 2016 from Zurich Dame Ethel Smyth wrote her Concerto for Violin, Horn and Orchestra with Aubrey Brain in mind. He and Jelly d'Arányi premiered the work under Sir Henry Wood on 5 March 1927. He also played it in Berlin with Marjorie Hayward. Ethel Smyth was a twentieth-century British composer and a champion of women's rights and female musicians. During her lifetime, she composed symphonies, choral works (musical pieces written for a choir), and operas including The Wreckers,1906, and is most well known for The March of Women, an anthem for the women's suffrage movement. In 1922, she was named a Dame of the British Empire. She studied composition and theory at Leipzig Conservatory, where her sophisticated music elicited rave reviews. In 1889, she returned to London and developed talents in multiple areas of composition, culminating in an oeuvre that included orchestral pieces, choral arrangements, chamber music, and six operas. She earned acclaim for her performance of Mass in D, which was enthusiastically received in London in 1893. The enduring mental picture of Ethel Smyth was evoked by the conductor Sir Thomas Beecham. Visiting her in Holloway Prison in 1912, he found the inmates marching and singing in the courtyard while Ethel "beat time in almost Bacchic frenzy with a toothbrush". Smyth was a woman of formidable character. Whatever she did, whether composing music, writing books, falling in love or allying herself with the suffragette movement, she did with unstoppable passion, but her colourful life and reputation have tended to overshadow the thing she cared about most - her music. Smyth had been sent to jail after lobbing a rock through the window of the Secretary of State for the Colonies, Lewis Harcourt, who had made a condescending remark about women. Smyth had earnestly embraced the Votes for Women cause. She was a friend of Mrs Pankhurst, and wrote the March of the Women, which became the suffragettes' rallying cry. Characteristically, she enjoyed the trial, and the magistrate seems scarcely to have got a word in edgeways, a factor that perhaps worked to her disadvantage not just in court but in her dealings with the musical world as well. As a composer, she moved in all the right circles. She met Brahms, Tchaikovsky and Grieg in Leipzig, where she had gone to study. She attracted influential patrons such as the Empress Eugénie and the Princesse Edmond de Polignac. The female attachments she formed throughout her life were either with women of secure social standing or with writers of renown such as Edith Somerville and Virginia Woolf. But Smyth had the knack of getting people's backs up. After much string-pulling, her opera The Wreckers was produced in Leipzig in 1906, but she was so incensed that the third act had been tampered with that she returned to the opera house after the premiere and commandeered the score and orchestral parts. She was also in the habit of sneaking into orchestra pits and pinning amendments to the musicians' desks, so that nobody, least of all the conductor, knew precisely what to play. She could be maddening, but she was taken seriously as a composer by critics and public alike. In her lifetime, her music was performed in Germany and increasingly in England.
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