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Tchaikovsky, PI - Violin Concerto in D Major, Op 35 - Violin and Piano - edited by Guntner - Henle
Tchaikovsky, PI - Violin Concerto in D Major, Op 35 - Violin and Piano - edited by Guntner - Henle
Though today it is considered one of the most beloved violin concertos of all time, the Concerto in D major, Op. 35, was not as initially successful as Tchaikovsky had hoped. Its premiere in by Adolph Brodsky in 1881 was blasted by music critic Eduard Hanslick, who called the concerto long and pretentious” and said, of the virtuosic technique required for its performance, that the violin was not played but beaten black and blue.” Fortunately for us, many others, including countless violinists over the past century, have deemed the concerto more than worthy! It is full of spirit and energy, and includes one of the loveliest, most haunting slow movements in the violin literature.
$16.10
Original: $45.99
-65%Tchaikovsky, PI - Violin Concerto in D Major, Op 35 - Violin and Piano - edited by Guntner - Henle—
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Tchaikovsky, PI - Violin Concerto in D Major, Op 35 - Violin and Piano - edited by Guntner - Henle
Though today it is considered one of the most beloved violin concertos of all time, the Concerto in D major, Op. 35, was not as initially successful as Tchaikovsky had hoped. Its premiere in by Adolph Brodsky in 1881 was blasted by music critic Eduard Hanslick, who called the concerto long and pretentious” and said, of the virtuosic technique required for its performance, that the violin was not played but beaten black and blue.” Fortunately for us, many others, including countless violinists over the past century, have deemed the concerto more than worthy! It is full of spirit and energy, and includes one of the loveliest, most haunting slow movements in the violin literature.
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Though today it is considered one of the most beloved violin concertos of all time, the Concerto in D major, Op. 35, was not as initially successful as Tchaikovsky had hoped. Its premiere in by Adolph Brodsky in 1881 was blasted by music critic Eduard Hanslick, who called the concerto long and pretentious” and said, of the virtuosic technique required for its performance, that the violin was not played but beaten black and blue.” Fortunately for us, many others, including countless violinists over the past century, have deemed the concerto more than worthy! It is full of spirit and energy, and includes one of the loveliest, most haunting slow movements in the violin literature.
