Khachaturian, Aram. Flute Concerto (Violin Concerto transcribed by Jean-Pierre Rampal). (, transcr. ). transcribed for flute and orchestra. Duration: 35′. Khachaturian, Aram: Flute Concerto (Violin Concerto transcribed by Jean-Pierre Rampal) (, transcr. ) 35′. transcribed for flute and orchestra. Khachaturian composed concertos for piano, for violin and for cello, but none for the flute; the work performed in the present concerts is a transcription of his.

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As a result, Pahud’s interpretation seems a little reticent beside Rampal’s. The recapitulation, containing nostalgic reminiscences of the second and third themes, leads to a brilliant coda.

Rampal had asked Khachaturian for khachatruian original work, and after decades of nothing to show for his request, Rampal finally took matters into his own hands. Please help improve it or discuss these issues on the talk page. Rampal left the orchestral material virtually untouched, but in addition to transcribing the solo part for the flute he composed a new and of course idiomatic cadenza for the first movement.

Home News Contacts Copyright. This article has multiple issues. The first movement Allegro con fermezza opens with a brief and exuberant orchestral introduction, following which the flute begins spinning out the theme, more striking perhaps for its rhythmic accents than as melody per se. Khachaturian composed concertos for piano, for violin and for cello, but none for the flute; the work performed in the present concerts is a transcription of his Violin Concerto composed inby the celebrated flutist Jean-Pierre Rampal born January 7,Marseilles; died May 20,Pariswho introduced this version in the Toledo Philharmonic Orchestra under Serge Fournier on November 3 and 4, Learn how and when to remove these template messages.

The topic of this article may not meet Wikipedia’s general notability guideline. The accompaniments have plenty of personality. This page was last edited on 19 Decemberat Pahud’s strategy is to highlight the differences — not the similarities – between the violin and the flute.

The opening of this finale, grander than the passage that began the work, suggests a grand concetto divertissement, and much of the soloist’s energetic material has an ingratiatingly improvisatory feel to kkhachaturian. James Galway in his RCA version brings out a jaunty penny-whistle quality, where Pahud relates this movement more clearly to the rest of the concerto. Emmanuel Pahud’s performances of the Rampal version in this week’s concerts are the NSO’s first of either version for the flute since then.

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In addition to the solo flute, flufe score calls for 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum, bass drum, cymbals, harp, and strings. The recording, made in the Grosser Saal of the Tonhalle in October last year, is full and clear. Recollections of the first movement’s second theme are heard in the solo material about halfway through, and return in the cellos when the flute resumes the finale’s own theme.

Violin Concerto (Khachaturian) – Wikipedia

The flute naturally lacks the required incisiveness for the first subject, but there are obvious gains in the lyrical second subject 2’05” into track 1: Gramophone products and those of specially selected partners from the world of music. Jean-Pierre Rampal, in common with countless listeners everywhere, immensely enjoyed Aram Khachaturian’s colorful music for the ballet Gayaneh and his two big concertos–one for piano, one for violin–which, like the ballet music, became enormously popular in the years following World War II.

Gramophone’s expert reviews easier than ever before. This article about a concerto is a stub. Zinman is an understanding conductor, and if the orchestra’s sound is not quite right for these concertos, at least it’s never run of fllute mill. Refinement replaces folkish freedom.

Flute Concerto

From Wikipedia, the free encyclopedia. Violin concertos compositions Concerto stubs.

October Learn how and when to remove this template message. This article does not cite any sources. Aram Khachaturian ‘s violin concerto is a violin concerto in three movements composed in All this blueness is in contrast to the pallor of his complexion conceeto the beginnings of a beard and mustache.

Examples abound in the works of Bach, Mozart, Beethoven and their contemporaries. Apart from that, the engineering is excellent. The first one is brief and is performed on the flute essentially as Khachaturian composed it for the violin; the second begins with a little dialogue between flute and clarinet, and from that point on it is original material by Rampal, as idiomatic to the flute as the composer’s own cadenza is to the violin. By using this site, you agree khacharurian the Terms concerfo Use and Privacy Policy.

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As late as the early years of the 20th century, in fact, Beethoven string quartets and Mozart string quintets were sometimes performed with the first violin part reassigned khachwturian a flute, and in vlute middle of that century Prokofiev composed a flute sonata his Op. Flute Concerto Jacques Ibert: Here the music, particularly that for the solo instrument, is conspicuously more inward and meditative than anything in the outer movements, though not with a sense of urgency.

Rampal subsequently performed the work with the National Symphony Orchestra’s concerts celebrating his 60th birthday, with Mstislav Rostropovich conducting, on January 5, 6, 7 and 8, ; on November 1, 2, 3 and 6,his Irish colleague James Galway performed his own transcription for the flute with the NSO, again with Mr.

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Ibert; Khachaturian Flute Concertos |

Please help improve this article by adding citations to reliable sources. The brilliant and dancelike the final movement Allegro vivace sums up in the most genial manner.

The development, an especially dramatic section, begins and ends with cadenzas. Rampal, in making this transcription, and Khachaturian, in suggesting it, were following an old and honored tradition, established in the Baroque era, in which the concertk and the flute have been used interchangeably in many works in both the orchestral and chamber-music repertories.

The form is a free-flowing rondo, with an unexpectedly impassioned middle section breaking the deep khachatuiran and returning even more forcefully before the movement ends.