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García Asensio, José Luis

Picture: García Asensio, José Luis

Madrid, 1944. José Luis García Asensio was born in Madrid in 1944. When he was sixteen he won the Sarasate Prize and at twenty-two became a teacher of violin virtuosity at the Royal College of Music in London-the youngest teacher ever in the history of that famous school. He studied with the great conductor Sergiu Celibidache. For more than twenty years he was first violin-conductor of the English Chamber Orchestra, with which he led a very active artistic life and made important recordings, such as the Mozart concertos for violin and orchestra and Vivaldi's The Four Seasons. In 1992 he joined the staff of the Escuela Superior de Música Reina Sofía and one year later acceded to the Chair of Violin.

Biography

BACH, Johann Sebastian

Picture: BACH, Johann Sebastian

Eisenach, 1685 - Leipzig, 1750. Born into a musical family, Bach received his earliest instruction from his father. After his father's death in 1695, Bach moved to Ohrdruf, where he lived and studied organ with his older brother Johann Christoph. He also received an education at schools in Eisenach, Ohrdruf, and Lüneburg. Bach's first permanent positions were as organist in Arnstadt (1703-1707) and Mühlhausen (1707-1708). During these years, he performed, composed taught, and developed an interest in organ building. From 1708-1717 he was employed by Duke Wilhelm Ernst of Weimar, first as court organist, and after 1714, as concertmaster. During this period, he composed many of his best organ compositions; in his capacity as concertmaster, he was also expected to produce a cantata each month. In Weimar, Bach's style was influenced by his study of numerous Italian compositions (especially Vivaldi concertos). Bach's next position, as Music Director for the Prince Leopold of Cüthen (1717-1723), involved entirely different activities. Since the court chapel was Calvinist, there was no need for church compositions; Bach probably used the Cüthen organs only for teaching and practice. His new works were primarily for instrumental solo or ensemble, to be used as court entertainment or for instruction. Among the important compositions at Cüthen were the Brandenburg Concertos, the first volume of Das wohltemperirte Clavier (The Well-Tempered Clavier), the "French" and "English" Suites for harpsichord (although the "English" Suites may be from the Weimar period), and most of the sonatas and suites for other instruments. In 1723, Bach was appointed cantor at the St. Thomas Church and School, and Director of Music for Leipzig, positions which he retained for the rest of his career. His official duties included the responsibility of overseeing the music in the four principal churches of the city, and organizing other musical events sponsored by the municipal council. During his first six years in Leipzig (1723-1729), Bach's most impressive compositions were his sacred cantatas (four yearly cycles), and the St. John and St. Matthew Passions. Bach apparently gave virtuoso organ recitals in Leipzig and on various tours, although he had no official position as organist in Leipzig. In 1729-1737 and 1739-1741, he was director of the Leipzig Collegium Musicum, an organization which had been founded by Telemann in 1704. This group of professional musicians and university students performed weekly concerts (out-of-doors in the summer, and at Zimmerman's coffee-house in the winter). Although no specific programs for these concerts have survived, Bach apparently revived and many of his instrumental compositions from Cüthen, wrote new works (e.g., secular cantatas), and conducted pieces by other composers. During the 1730s, Bach renewed his interest in keyboard compositions, and prepared the first three volumes of his Clavier-Übung (Keyboard Practice) for publication (1731, 1735, 1739); the fourth volume appeared in 1741-1742. In the 1730s, he also showed considerable interest in the royal court at Dresden, and was named "Hofkomponist" (court-composer") in Dresden in 1736. During Bach's last decade (the 1740s), he completed or revised several large-scale projects which he had started earlier. The Well-Tempered Clavier, Vol. II; a manuscript collection of chorale preludes (known as the "Leipzig 18", comprising revisions of Weimar pieces), and the B minor Mass. Other new works showed

Biography

  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    I. Allemande

    CLASS 2011: [O.V.: Spanish] [Tras: English ]

    Content

    Phrasing, Metrical rigor or freedom - 2' 04''
    String-crossing, Fingerings - 2' 15''
    Phrasing, Metrical rigor or freedom - 1' 42''
    Metrical rigor or freedom - 1' 04''
    Articulation, Rigor or freedom in reading - 2' 03''
    Metrical rigor or freedom, Bow - 3' 39''
    Tension - 1' 04''
    Metrical rigor or freedom, Metrics - 1' 23''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    I. Allemande

    CLASS 2310: [O.V.: Spanish] [Tras: English ]

    Content

    Fingers, Bow - 0' 58''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    I. Allemande

    CLASS 2567: [O.V.: Spanish] [Tras: Spanish ]

    Content

    Phrasing, Fingerings - 1' 38''
    Part - 19' 27''
    Phrasing - 2' 15''
    Attitude of the musician, Rigor or freedom in reading - 1' 27''
    Editions, Rigor or freedom in reading - 2' 16''
    Articulation, Dance forms - 2' 42''
    Metrical rigor or freedom - 1' 01''
    Metrical rigor or freedom - 1' 01''
    Harmonic process, Tension - 0' 58''
    Breathing, Metrical rigor or freedom - 2' 07''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    I. Allemande

    CLASS 7255: [O.V.: Spanish]

    Content

    Part - 10' 28''
    Phrasing, Metrical rigor or freedom - 2' 22''
    Attitude of the musician, Dynamics - 2' 55''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    II. Courante

    CLASS 2011: [O.V.: Spanish] [Tras: English ]

    Content

    Metrical rigor or freedom - 1' 29''
    Metrical rigor or freedom, Tension - 1' 43''
    Metrical rigor or freedom, Bowings - 3' 05''
    Articulation, Character - 1' 39''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    II. Courante

    CLASS 2310: [O.V.: Spanish] [Tras: English ]

    Content

    Metrical rigor or freedom - 1' 07''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    II. Courante

    CLASS 2567: [O.V.: Spanish] [Tras: Spanish ]

    Content

    Part - 15' 59''
    Duration, Bow direction - 1' 09''
    Duration, Articulation - 1' 04''
    Bow direction, Accents - 1' 51''
    Study methods - 1' 06''
    Fingerings, Trill - 1' 39''
    Fingerings, Articulation - 2' 10''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    II. Courante

    CLASS 7255: [O.V.: Spanish]

    Content

    Part - 5' 22''
    Duration, Styles and periods - 1' 03''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    III. Sarabande

    CLASS 2234: [O.V.: Spanish] [Tras: English ]

    Content

    Sound balance - 0' 54''
    Ornamentation, Metrical rigor or freedom - 2' 43''
    Double stops, Sound preparation - 1' 43''
    Double stops, Bow - 1' 06''
    Bowings, Fingerings - 5' 58''
    Articulation, Bowings - 1' 01''
    Fingerings - 3' 11''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    III. Sarabande

    CLASS 2567: [O.V.: Spanish] [Tras: Spanish ]

    Content

    Part - 3' 42''
    Bow direction, Phrasing - 2' 22''
    Phrasing, Attacks - 1' 19''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    III. Sarabande

    CLASS 7255: [O.V.: Spanish]

    Content

    Part - 15' 41''
    Metrical rigor or freedom - 1' 32''
    Ornamentation, Metrical rigor or freedom - 2' 49''
    Ornamentation, Character - 2' 44''
    Attitude of the musician, Trill - 1' 02''
    Part - 6' 33''
    Bowings, Rhythm - 1' 40''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    IV. Gigue

    CLASS 2011: [O.V.: Spanish] [Tras: English ]

    Content

    Character, Bow - 1' 33''
    Articulation, Bow distribution - 2' 38''
    Dynamics, Bow - 1' 38''
    Metrical rigor or freedom, Fingerings - 2' 57''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    IV. Gigue

    CLASS 2194: [O.V.: Spanish] [Tras: English ]

    Content

    Arm, Bow - 3' 06''
    Bow, Up-beat - 2' 22''
    Bow direction, Sound quality - 1' 06''
    Bow direction, Articulation - 2' 07''
    Bow, Dynamics - 1' 04''
    Arm, Bow - 1' 08''
    Fingerings, Bow distribution - 2' 31''
    String-crossing - 0' 57''
    String-crossing, Study methods - 1' 59''
    Fingerings - 2' 07''
    Study methods - 1' 04''
    Editions, Bow - 1' 33''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    IV. Gigue

    CLASS 2310: [O.V.: Spanish] [Tras: English ]

    Content

    Study methods, String-crossing - 5' 47''
    Study methods, String-crossing - 5' 59''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    IV. Gigue

    CLASS 7255: [O.V.: Spanish]

    Content

    Part - 6' 28''
    Contrast, Clarity of execution - 1' 43''
    Fingerings, Shifts or changes of position - 1' 16''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 2 in D minor BWV 1004

    V. Ciaccona

    CLASS 4839: [O.V.: Spanish]

    Content

    Chords, Fingerings - 4' 57''
    Fingerings - 1' 18''
    Bow, Chords - 3' 05''
    Chords, Bow - 1' 54''
    Bow - 1' 37''
    The work, Study methods - 1' 42''
    Metrical rigor or freedom, Articulation - 1' 18''
    Articulation - 1' 09''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 1 in B minor BWV 1014

    I. Adagio

    CLASS 1697: [O.V.: English-Spanish] [Tras: Spanish ]

    Content

    Articulation, Trill - 3' 10''
    Fingerings, Bowings - 2' 08''
    Bow direction, Bow distribution - 2' 39''
    Trill, Articulation - 1' 03''
    Melodic rigor or freedom, Shifts or changes of position - 2' 03''
    Articulation - 1' 05''
    Trill, Bow - 1' 16''
    Articulation, Bow - 1' 42''
    Bow distribution - 1' 05''
    Tempo, Metrical rigor or freedom - 1' 45''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 1 in B minor BWV 1014

    I. Adagio

    CLASS 1714: [O.V.: Spanish] [Tras: English ]

    Content

    Editions, Dynamics - 2' 20''
    Expressivity, Phrasing - 1' 38''
    Rhythm, Sound quality - 1' 06''
    Fingerings - 1' 11''
    Articulation, Bow - 2' 19''
    Attitude of the musician, Tempo - 2' 26''
    Tempo - 1' 35''
    Chords, Fingerings - 1' 33''
    Evenness, Vibrato - 1' 22''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 1 in B minor BWV 1014

    I. Adagio

    CLASS 1784: [O.V.: Spanish] [Tras: English ]

    Content

    Pressure, Bow - 2' 46''
    Bow, Articulation - 2' 18''
    Bow, Articulation - 2' 28''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 1 in B minor BWV 1014

    I. Adagio

    CLASS 1825: [O.V.: Spanish] [Tras: English ]

    Content

    Dynamics, Timbre - 2' 03''
    Articulation - 1' 31''
    Trill, Styles and periods - 3' 16''
    Tension - 1' 59''
    Trill - 1' 32''
    Dynamics - 1' 06''
    Tempo - 1' 14''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 1 in B minor BWV 1014

    II. Allegro

    CLASS 1697: [O.V.: English-Spanish] [Tras: Spanish ]

    Content

    Articulation, Trill - 1' 12''
    Detaché, Articulation - 2' 18''
    Pressure, Tempo - 2' 42''
    Secondary melody, Main melody - 1' 01''
    Fingerings - 1' 44''
    Apoggiatura - 1' 03''
    Articulation - 1' 00''
    Articulation, Attacks - 1' 09''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 1 in B minor BWV 1014

    II. Allegro

    CLASS 1784: [O.V.: Spanish] [Tras: English ]

    Content

    Editions, Detaché - 2' 35''
    Sound quality, Articulation - 1' 51''
    Portamento, Shifts or changes of position - 1' 17''
    Metrics - 1' 01''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 1 in B minor BWV 1014

    II. Allegro

    CLASS 1825: [O.V.: Spanish] [Tras: English ]

    Content

    Attitude of the musician, Bow-strokes - 1' 25''
    Evenness - 1' 10''
    Character, Dynamics - 1' 02''
    Bow-strokes - 1' 49''
    Bow - 0' 59''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 1 in B minor BWV 1014

    III. Andante

    CLASS 1710: [O.V.: Spanish] [Tras: English ]

    Content

    Bow - 1' 15''
    Bowings, Bow inclination - 1' 42''
    Sound quality, Shifts or changes of position - 1' 44''
    Ornamentation - 1' 27''
    Bow direction - 1' 42''
    Articulation - 4' 20''
    Fingerings - 1' 52''
    Bow direction - 2' 42''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 1 in B minor BWV 1014

    III. Andante

    CLASS 1784: [O.V.: Spanish] [Tras: English ]

    Content

    Phrasing, Articulation - 2' 37''
    Vibrato, Articulation - 4' 13''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 1 in B minor BWV 1014

    IV. Allegro

    CLASS 1710: [O.V.: Spanish] [Tras: English ]

    Content

    Bow-strokes - 1' 07''
    Tempo - 1' 19''
    Fingerings, String-crossing - 1' 10''
    Fingerings, Sound quality - 1' 30''
    Accents, Bow-strokes - 2' 31''
    Shifts or changes of position , Fingerings - 1' 07''
    Articulation, Bow direction - 1' 27''
    Fingerings, Bow direction - 1' 11''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 1 in B minor BWV 1014

    IV. Allegro

    CLASS 1784: [O.V.: Spanish] [Tras: English ]

    Content

    Styles and periods, Articulation - 1' 36''
    Main melody, Voice identification - 1' 31''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 1 in G minor BWV 1001

    I. Adagio

    CLASS 1566: [O.V.: Spanish] [Tras: English ]

    Content

    Chords, Bow - 1' 59''
    Character, Metrical rigor or freedom - 1' 52''
    Bow, Sound quality - 3' 56''
    Attitude of the musician, Dynamics - 1' 54''
    Phrasing, Metrical rigor or freedom - 4' 14''
    Tempo - 2' 32''
    Tempo, Bow - 1' 28''
    Phrasing, Metrical rigor or freedom - 2' 23''
    Chords, Tempo - 1' 24''
    Articulation, Arm - 1' 32''
    Wrist, Study methods - 1' 34''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 1 in G minor BWV 1001

    I. Adagio

    CLASS 1690: [O.V.: Spanish] [Tras: English ]

    Content

    Harmony, Melody - 1' 39''
    Bow distribution, Chords - 1' 08''
    Improvisation, Tempo - 2' 29''
    Articulation, Bow - 2' 43''
    Rhythm, Bow distribution - 1' 32''
    Rhythm - 2' 21''
    Fingerings, Tuning - 1' 25''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 1 in G minor BWV 1001

    I. Adagio

    CLASS 2733: [O.V.: Spanish] [Tras: Spanish ]

    Content

    Part - 15' 21''
    Tempo, Attitude of the musician - 2' 19''
    Vibrato, Metrical rigor or freedom - 1' 05''
    Tension, Tuning - 1' 05''
    Vibrato, Apoggiatura - 1' 02''
    Phrasing, Dynamics - 1' 09''
    Attacks, Metrical rigor or freedom - 1' 11''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 1 in G minor BWV 1001

    I. Adagio

    CLASS 2735: [O.V.: Spanish] [Tras: Spanish ]

    Content

    Part - 9' 59''
    Double stops, Harmony - 1' 00''
    Metrical rigor or freedom - 1' 05''
    Contrast - 1' 10''
    Attacks, Bow inclination - 2' 22''
    Metrical rigor or freedom - 1' 01''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 1 in G minor BWV 1001

    I. Adagio

    CLASS 7424: [O.V.: Spanish]

    Content

    Part - 7' 29''
    Duration - 1' 03''
    Tuning, Maintaining the sound - 1' 00''
    Bow distribution, Trill - 2' 15''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 1 in G minor BWV 1001

    II. Fuga

    CLASS 1581: [O.V.: Spanish] [Tras: English ]

    Content

    Articulation, Frog - 2' 36''
    Dynamics - 1' 26''
    Phrasing - 2' 38''
    Dynamics, Chords - 1' 55''
    Bowings, Bow direction - 1' 26''
    Bow, Chords - 1' 31''
    Bow direction, Chords - 2' 14''
    Articulation, Trill - 1' 25''
    Themes and motifs, Middle - 1' 41''
    Articulation, Styles and periods - 2' 19''
    Chords, Manuscripts - 3' 04''
    Phrasing - 1' 46''
    Articulation, Tension - 1' 53''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 1 in G minor BWV 1001

    II. Fuga

    CLASS 2731: [O.V.: Spanish]

    Content

    Part - 7' 54''
    Repeated notes, Dynamics - 1' 04''
    Chords, Study methods - 3' 34''
    Chords, Attacks - 1' 36''
    Part - 21' 03''
    Bow direction, Study methods - 1' 48''
    Fingerings, Bow distribution - 1' 06''
    Left hand, Pressure - 1' 20''
    Sound preparation, Chords - 1' 21''
    Fingerings - 2' 05''
    Study methods, Tuning - 2' 01''
    Articulation, Bow - 1' 33''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 1 in G minor BWV 1001

    II. Fuga

    CLASS 2733: [O.V.: Spanish] [Tras: Spanish ]

    Content

    Part - 26' 10''
    Chords, Fingerings - 3' 01''
    Sound balance - 1' 02''
    Tuning, Fingerings - 1' 14''
    Chords, Attacks - 1' 19''
    Fingerings, Chords - 1' 32''
    Tuning, Double stops - 1' 36''
    Fingers, Main melody - 2' 15''
    Chords, Pressure - 1' 47''
    Double stops, Fingerings - 1' 47''
    Shifts or changes of position , Attitude of the musician - 1' 58''
    The work, Study methods - 1' 00''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 1 in G minor BWV 1001

    II. Fuga

    CLASS 2735: [O.V.: Spanish] [Tras: Spanish ]

    Content

    Part - 16' 49''
    Phrasing - 1' 14''
    Thirds, Fingerings - 3' 03''
    Rigor or freedom in reading, Styles and periods - 5' 46''
    Trill, Rigor or freedom in reading - 1' 19''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 1 in G minor BWV 1001

    II. Fuga

    CLASS 7424: [O.V.: Spanish]

    Content

    Part - 18' 56''
    Duration, Phrasing - 1' 25''
    Fingerings, Chords - 2' 16''
    Metrical rigor or freedom, Sound preparation - 1' 36''
    Trill, Duration - 1' 09''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 1 in G minor BWV 1001

    III. Siciliano

    CLASS 2735: [O.V.: Spanish] [Tras: Spanish ]

    Content

    Part - 8' 43''
    Articulation, Metrical rigor or freedom - 3' 17''
    The work - 1' 15''
    Part - 2' 25''
    Articulation, The author - 2' 25''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 1 in G minor BWV 1001

    IV. Presto

    CLASS 2735: [O.V.: Spanish] [Tras: Spanish ]

    Content

    Part - 3' 45''
    Bow direction - 1' 39''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 3 in C major BWV 1005

    II. Fuga

    CLASS 1488: [O.V.: Spanish] [Tras: English ]

    Content

    Themes and motifs, Bow - 5' 01''
    Metrical rigor or freedom, Sound quality - 1' 55''
    Bow distribution, Bow direction - 1' 14''
    Accents, Bow direction - 3' 06''
    Metrical rigor or freedom, Articulation - 1' 11''
    Editions, Chords - 1' 02''
    Chords - 1' 55''
    Character, Ornamentation - 1' 04''
    Editions, Phrasing - 1' 20''
    Rigor or freedom in reading - 1' 01''
    Articulation - 2' 25''
    Accents, Bow - 2' 16''
    Melody, Bow-strokes - 0' 43''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 3 in C major BWV 1005

    II. Fuga

    CLASS 1634: [O.V.: Spanish] [Tras: English ]

    Content

    Bow direction, Bowings - 3' 41''
    Metrical rigor or freedom, Tempo - 1' 04''
    Bow direction - 2' 10''
    Metrical rigor or freedom, Phrasing - 1' 09''
    Bow direction, Fingerings - 1' 04''
    Bow-strokes, Phrasing - 1' 12''
    Bow direction - 4' 31''
    Bow direction - 4' 31''
    Bow direction - 2' 59''
    Detaché, Bow-strokes - 2' 39''
    Bow direction - 1' 47''
    Bow direction - 2' 00''
    Vibrato - 1' 31''
    Vibrato - 1' 06''
    Bow direction - 3' 35''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 3 in E major BWV 1006

    I. Preludio

    CLASS 1825: [O.V.: Spanish] [Tras: English ]

    Content

    Harmony, Study methods - 2' 07''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 3 in E major BWV 1006

    I. Preludio

    CLASS 2736: [O.V.: Spanish]

    Content

    Part - 1' 23''
    Fingerings - 1' 23''
    Part - 16' 30''
    Fingerings, Tuning - 2' 26''
    Fingerings - 1' 01''
    Bow inclination, Metrical rigor or freedom - 1' 46''
    Fingerings, Sound balance - 2' 19''
    Accents, Bow distribution - 1' 31''
    Fingerings, Shifts or changes of position - 1' 06''
    Articulation, Dynamics - 2' 30''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 3 in E major BWV 1006

    II. Loure

    CLASS 2239: [O.V.: Spanish] [Tras: English ]

    Content

    Vibrato, Relaxation - 1' 36''
    Dynamics, The author - 1' 36''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 3 in E major BWV 1006

    II. Loure

    CLASS 2736: [O.V.: Spanish]

    Content

    Part - 2' 55''
    Trill, Shifts or changes of position - 1' 28''
    Part - 3' 55''
    Bow direction, Bow distribution - 2' 08''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 3 in E major BWV 1006

    III. Gavotte en Rondeau

    CLASS 1769: [O.V.: Spanish] [Tras: English ]

    Content

    Bow, Themes and motifs - 1' 21''
    Articulation, Themes and motifs - 1' 41''
    Double stops - 1' 37''
    Bow, Fingerings - 1' 51''
    Articulation, Editions - 2' 09''
    Voice identification - 1' 31''
    Articulation, Detaché - 2' 21''
    Themes and motifs, Double stops - 2' 06''
    Bow, Fingerings - 2' 14''
    Fingers, Clarity of execution - 1' 06''
    Trill, Tuning - 1' 39''
    Articulation, Editions - 3' 55''
    Cadence, Trill - 3' 11''
    Themes and motifs, Bow direction - 2' 46''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 3 in E major BWV 1006

    III. Gavotte en Rondeau

    CLASS 2239: [O.V.: Spanish] [Tras: English ]

    Content

    Contrast, Dynamics - 1' 00''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 3 in E major BWV 1006

    IV. Menuet I

    CLASS 1768: [O.V.: Spanish] [Tras: English ]

    Content

    Shifts or changes of position , Apoggiatura - 1' 11''
    Main melody, Bow-strokes - 1' 23''
    Tempo, Articulation - 1' 24''
    Character, Articulation - 1' 45''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 3 in E major BWV 1006

    V. Menuet II

    CLASS 1768: [O.V.: Spanish] [Tras: English ]

    Content

    Bow, Chords - 2' 00''
    Articulation, Bow direction - 2' 06''
    Articulation - 0' 52''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 3 in E major BWV 1006

    VI. Bourrée

    CLASS 1768: [O.V.: Spanish] [Tras: English ]

    Content

    Fingerings, Bow - 1' 53''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 3 in E major BWV 1006

    VII. Gigue

    CLASS 1768: [O.V.: Spanish] [Tras: English ]

    Content

    Sound quality, Shifts or changes of position - 2' 09''
    Fingerings - 1' 50''
    Tip, Articulation - 1' 20''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 3 in E major BWV 1006

    VII. Gigue

    CLASS 2239: [O.V.: Spanish] [Tras: English ]

    Content

    Rhythm - 1' 32''
  • BACH | García Asensio < Violin

    Brandenburg Concerto no. 3 in G major BWV 1048 (violin part)

    I. [Allegro moderato]

    CLASS 1698: [O.V.: Spanish] [Tras: English ]

    Content

    Dynamics, Sound balance - 1' 53''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 2 in A minor BWV 1003

    I. Grave

    CLASS 2937: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 13' 55''
    Trill, Styles and periods - 1' 04''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 2 in A minor BWV 1003

    II. Fuga

    CLASS 1625: [O.V.: Spanish] [Tras: English ]

    Content

    Bow, Strings - 1' 26''
    Duration - 2' 01''
    Bow - 1' 29''
    Chords, Bow - 2' 49''
    Articulation - 1' 10''
    Articulation, Fingerings - 1' 21''
    Editions - 1' 13''
    Melodic rigor or freedom, Chords - 1' 11''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 2 in A minor BWV 1003

    II. Fuga

    CLASS 2937: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 14' 23''
    Dynamics, The public - 1' 50''
    Double stops, Phrasing - 2' 11''
    Aptitude, The work - 1' 32''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 2 in A minor BWV 1003

    III. Andante

    CLASS 1961: [O.V.: English] [Tras: Spanish ]

    Content

    Styles and periods, Trill - 1' 05''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 2 in A minor BWV 1003

    III. Andante

    CLASS 2068: [O.V.: Spanish] [Tras: English ]

    Content

    Voice identification, Bow - 1' 08''
    Articulation, Duration - 1' 59''
    Bow, Sound quality - 2' 03''
    Fingerings, Shifts or changes of position - 1' 07''
    Shifts or changes of position , Clarity of execution - 1' 06''
    Voice identification - 1' 18''
    Vibrato, Fingerings - 1' 15''
    Fingerings, Apoggiatura - 3' 20''
    Trill - 2' 05''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 2 in A minor BWV 1003

    III. Andante

    CLASS 2237: [O.V.: Spanish] [Tras: English ]

    Content

    Fingerings, Fifths - 1' 19''
    Duration - 2' 29''
    Bow, Chords - 3' 48''
    Bow distribution, Bow - 3' 02''
    Indications for the execution - 1' 15''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 2 in A minor BWV 1003

    III. Andante

    CLASS 2263: [O.V.: Spanish] [Tras: English ]

    Content

    Character, Bow - 1' 48''
    Bow distribution - 1' 31''
    Tension - 1' 33''
    Character, Fingerings - 2' 08''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 2 in A minor BWV 1003

    III. Andante

    CLASS 2297: [O.V.: Spanish] [Tras: English ]

    Content

    Fifths, Indications for the execution - 4' 20''
    Vibrato, Dynamics - 2' 06''
    Fifths, Study methods - 3' 25''
    Elbow, Chords - 3' 42''
    Articulation, Bow - 1' 08''
    Elbow, Sound quality - 3' 12''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 2 in A minor BWV 1003

    III. Andante

    CLASS 2669: [O.V.: Spanish]

    Content

    Part - 8' 41''
    Repetition, Duration - 1' 46''
    Part - 8' 59''
    Fingerings - 1' 00''
    Bow distribution - 1' 04''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 2 in A minor BWV 1003

    IV. Allegro

    CLASS 2237: [O.V.: Spanish] [Tras: English ]

    Content

    The author, Detaché - 2' 05''
    Trill, Fingerings - 1' 41''
    Fingerings - 2' 04''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 2 in A minor BWV 1003

    IV. Allegro

    CLASS 2263: [O.V.: Spanish] [Tras: English ]

    Content

    Detaché, Fingerings - 2' 08''
    Detaché, Bow - 1' 04''
    Articulation, Bow - 1' 47''
    Fingerings - 1' 13''
    Fingerings - 1' 08''
    Detaché, Sound quality - 1' 09''
    Articulation, Fingerings - 1' 40''
    Detaché, Relaxation - 2' 33''
    Bow distribution, Detaché - 1' 11''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 2 in A minor BWV 1003

    IV. Allegro

    CLASS 2297: [O.V.: Spanish] [Tras: English ]

    Content

    Character, Phrasing - 2' 44''
    Phrasing, Dynamics - 1' 33''
    Phrasing, Melody - 1' 05''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 2 in A minor BWV 1003

    IV. Allegro

    CLASS 2669: [O.V.: Spanish]

    Content

    Part - 6' 32''
    Detaché, Character - 3' 46''
    Indications for the execution, Main melody - 4' 36''
  • BACH | García Asensio < Violin

    Sonata for violin solo no. 2 in A minor BWV 1003

    IV. Allegro

    CLASS 2937: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 1' 42''
  • BACH | García Asensio < Violin

    St Matthew Passion BWV 244 (violin part)

    "Erbarme dich, mein Gott"

    CLASS 2062: [O.V.: Spanish] [Tras: English ]

    Content

    Metrical rigor or freedom, Maintaining the sound - 2' 00''
    Metrical rigor or freedom, Vibrato - 2' 59''
    Tension, Harmony - 1' 57''
  • BACH | García Asensio < Violin

    St Matthew Passion BWV 244 (violin part)

    "Erbarme dich, mein Gott"

    CLASS 2259: [O.V.: English] [Tras: Spanish ]

    Content

    Tempo, Vibrato - 3' 38''
    Articulation, Dance forms - 1' 43''
    Apoggiatura - 2' 19''
    Bowings - 1' 46''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 1 in B minor BWV 1002

    I. Allemande

    CLASS 1576: [O.V.: Spanish] [Tras: English ]

    Content

    Chords - 1' 24''
    Chords, Duration - 1' 21''
    Phrasing - 2' 16''
    Chords, Bow - 1' 02''
    Metrical rigor or freedom, Pulse - 1' 05''
    Chords - 1' 25''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 1 in B minor BWV 1002

    VI. Double

    CLASS 2670: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 2' 38''
    Shifts or changes of position - 1' 06''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 1 in B minor BWV 1002

    VII. Tempo di Bourrée

    CLASS 2670: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 12' 34''
    Articulation, Character - 1' 09''
    Chords, Attacks - 2' 04''
    Chords, Study methods - 3' 11''
    Chords, Attacks - 1' 02''
  • BACH | García Asensio < Violin

    Partita for violin solo no. 1 in B minor BWV 1002

    VIII. Double

    CLASS 2670: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 3' 01''
    Metrical rigor or freedom - 1' 28''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 4 in C minor BWV 1017

    I. Siciliana. Largo

    CLASS 2492: [O.V.: Spanish] [Tras: Spanish ]

    Content

    Part - 27' 52''
    Rhythm, Character - 2' 56''
    Trill, Apoggiatura - 2' 15''
    Articulation, Styles and periods - 2' 10''
    Duration, Shifts or changes of position - 2' 07''
    Tuning, Interval - 4' 48''
    Tuning, Study methods - 3' 57''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 4 in C minor BWV 1017

    II. Allegro

    CLASS 2492: [O.V.: Spanish] [Tras: Spanish ]

    Content

    Part - 22' 22''
    Bow-strokes, Fifths - 2' 29''
    Shifts or changes of position , Bow - 3' 44''
    Sound planes, Secondary melody - 2' 05''
    Entries, Themes and motifs - 2' 33''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 3 in E major BWV 1016

    I. Adagio

    CLASS 1606: [O.V.: Spanish] [Tras: English ]

    Content

    Dynamics, Tip - 1' 08''
    Trill - 1' 26''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 3 in E major BWV 1016

    I. Adagio

    CLASS 1628: [O.V.: Spanish] [Tras: English ]

    Content

    Dynamics, Bow - 2' 02''
    Fingerings - 1' 21''
    Fingerings - 3' 01''
    Ornamentation - 1' 07''
    Trill - 1' 02''
    Bow direction - 1' 00''
    Rhythm - 0' 57''
    Dynamics, Interpenetration - 1' 42''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 3 in E major BWV 1016

    I. Adagio

    CLASS 1967: [O.V.: Spanish] [Tras: English ]

    Content

    Metrical rigor or freedom, Character - 1' 25''
    Ornamentation - 1' 34''
    Metrical rigor or freedom - 1' 37''
    Trill, Dynamics - 1' 19''
    Ornamentation, Shifts or changes of position - 2' 57''
    Vibrato - 1' 19''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 3 in E major BWV 1016

    I. Adagio

    CLASS 2026: [O.V.: Spanish] [Tras: English ]

    Content

    Bow, Apoggiatura - 1' 38''
    Articulation - 2' 09''
    Fingerings, Bow direction - 3' 21''
    Bow, Clarity of execution - 2' 29''
    Sound quality - 0' 58''
    Fingerings - 1' 42''
    Maintaining the sound, Bow direction - 2' 47''
    Timbre, Shifts or changes of position - 4' 47''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 3 in E major BWV 1016

    II. Allegro

    CLASS 1606: [O.V.: Spanish] [Tras: English ]

    Content

    Metrical rigor or freedom - 1' 44''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 3 in E major BWV 1016

    II. Allegro

    CLASS 1967: [O.V.: Spanish] [Tras: English ]

    Content

    Ornamentation, Bowings - 4' 13''
    Articulation, Detaché - 3' 53''
    Fingerings - 1' 24''
    Fingerings, Accents - 1' 05''
    Articulation, Metrical rigor or freedom - 1' 00''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 3 in E major BWV 1016

    III. Adagio ma non tanto

    CLASS 1874: [O.V.: Spanish] [Tras: English ]

    Content

    Dynamics, Entries - 1' 35''
  • BACH | García Asensio < Violin

    Sonata for violin and harpsichord no. 3 in E major BWV 1016

    III. Adagio ma non tanto

    CLASS 1967: [O.V.: Spanish] [Tras: English ]

    Content

    Fingerings, Editions - 3' 04''
    Fingerings - 0' 58''
    Ending of the sound - 1' 06''
    Character - 1' 22''
    Shifts or changes of position - 1' 15''
    Articulation - 1' 42''

BARBER, Samuel

Picture: BARBER, Samuel

West Chester, 1910 - New York City, 1981

Biography

  • BARBER | García Asensio < Violin

    Concerto for violin and orchestra op 14 (violin and piano reduction)

    I. Allegro

    CLASS 1751: [O.V.: Spanish] [Tras: English ]

    Content

    Articulation - 1' 07''
    Character, Metrical rigor or freedom - 2' 45''
    Bow - 1' 44''
  • BARBER | García Asensio < Violin

    Concerto for violin and orchestra op 14 (violin and piano reduction)

    I. Allegro

    CLASS 4829: [O.V.: Spanish] [Tras: English ]

    Content

    Pressure, Bow - 2' 18''
    Articulation, Phrasing - 2' 35''
  • BARBER | García Asensio < Violin

    Concerto for violin and orchestra op 14 (violin and piano reduction)

    II. Andante

    CLASS 1519: [O.V.: Spanish] [Tras: English ]

    Content

    Tempo, Metrical rigor or freedom - 1' 58''
    Vibrato - 1' 25''
    Fingerings, Tempo - 1' 37''
    Fingerings - 2' 04''
    Harmony, Tension - 1' 24''
    Tempo, Fingerings - 3' 04''
    Tempo, Soloist - 1' 59''
    Tempo, Bow - 4' 00''
  • BARBER | García Asensio < Violin

    Concerto for violin and orchestra op 14 (violin and piano reduction)

    II. Andante

    CLASS 1751: [O.V.: Spanish] [Tras: English ]

    Content

    Phrasing - 1' 00''
    Character, Fingerings - 3' 30''
    Character, Metrical rigor or freedom - 2' 24''
  • BARBER | García Asensio < Violin

    Concerto for violin and orchestra op 14 (violin and piano reduction)

    II. Andante

    CLASS 1755: [O.V.: Spanish] [Tras: English ]

    Content

    Metrical rigor or freedom - 1' 23''
  • BARBER | García Asensio < Violin

    Concerto for violin and orchestra op 14 (violin and piano reduction)

    II. Andante

    CLASS 4829: [O.V.: Spanish] [Tras: English ]

    Content

    Portamento, Character - 3' 39''
    Metrical rigor or freedom - 1' 01''
    Metrical rigor or freedom - 2' 54''
  • BARBER | García Asensio < Violin

    Concerto for violin and orchestra op 14 (violin and piano reduction)

    III. Presto in moto perpetuo

    CLASS 1519: [O.V.: Spanish] [Tras: English ]

    Content

    The author, The work - 3' 34''
  • BARBER | García Asensio < Violin

    Concerto for violin and orchestra op 14 (violin and piano reduction)

    III. Presto in moto perpetuo

    CLASS 1553: [O.V.: Spanish] [Tras: English ]

    Content

    Dynamics, Articulation - 2' 59''
    Tempo, Entries - 1' 48''

BARTÓK, Béla

Picture: BARTÓK, Béla

Nagyszentmiklós, 1881 - New York, 1945. Béla Bartók was born in the Hungarian town of Nagyszentmiklós (now Sînnicolau Mare in Romania) on 25 March 1881, and received his first instruction in music from his mother, a very capable pianist; his father, the headmaster of a local school, was also musical. After his family moved to Pressburg (now Bratislava in Slovakia) in 1894, he took lessons from László Erkel, son of Ferenc Erkel, Hungary's first important operatic composer, and in 1899 he became a student at the Royal Academy of Music in Budapest, graduating in 1903. His teachers there were János Koessler, a friend of Brahms, for composition and István Thoman for piano. Bartók, who had given his first public concert at the age of eleven, now began to establish a reputation as a fine pianist that spread well beyond Hungary's borders, and he was soon drawn into teaching: in 1907 he replaced Thoman as professor of piano in the Academy. Béla Bartók's earliest compositions offer a blend of late Romanticism and nationalist elements, formed under the influences of Wagner, Brahms, Liszt and Strauss, and resulting in works such as Kossuth, an expansive symphonic poem written when he was 23. Around 1905 his friend and fellow-composer Zoltán Kodály directed his attention to Hungarian folk music and, coupled with his discovery of the music of Debussy, Bartók's musical language changed dramatically: it acquired greater focus and purpose &#150; though initially it remained very rich, as his opera Duke Bluebeard's Castle (1911) and ballet The Wooden Prince (1917) demonstrate. But as he absorbed more and more of the spirit of Hungarian folk songs and dances, his own music grew tighter, more concentrated, chromatic and dissonant &#150; and although a sense of key is sometimes lost in individual passages, Bartók never espoused atonality as a compositional technique. His interest is folk music was not merely passive: Bartók was an assiduous ethnomusicologist, his first systematic collecting trips in Hungary being undertaken with Kodály, and in 1906 they published a volume of the songs they had collected. Thereafter Bartók's involvement grew deeper and his scope wider, encompassing a number of ethnic traditions both near at hand and further afield: Transylvanian, Romanian, North African and others. In the 1920s and 30s Bartók's international fame spread, and he toured widely, both as pianist (usually in his own works) and as a respected composer. Works like the Dance Suite for orchestra (1923), the Cantata profana (1934) and the Divertimento for strings (1939), commissioned by Paul Sacher, maintained his high profile; indeed, he earned some notoriety when the Nazis banned his ballet The Miraculous Mandarin (1918-19) because of its sexually explicit plot. He continued to teach at the Academy of Music until his resignation in 1934, devoting much of his free time thereafter to his ethnomusicological research. With the outbreak of the Second World War, and despite his deep attachment to his homeland, life in Hungary became intolerable and Bartók and his second wife, Ditta Pásztory, emigrated to the United States. Here his material conditions worsened considerably, despite initial promise: although he obtained a post at Columbia University and was able to pursue his folk-music studies, his concert engagements become very much rarer, and he received few commissions. Koussevitzky's request for a Concerto for Orchestra (1943) was therefore particularly important, bringing him much-needed inco

Biography

  • BARTÓK | García Asensio < Violin

    Romanian folkdances for violin and piano (arrangement by Z. Székely)

    1. Jocul cu bâta (Stick dance)

    CLASS 2526: [O.V.: Spanish]

    Content

    Part - 5' 44''
    Up-beat, Bow distribution - 3' 06''
  • BARTÓK | García Asensio < Violin

    Romanian folkdances for violin and piano (arrangement by Z. Székely)

    2. Brâul (Sash dance)

    CLASS 2526: [O.V.: Spanish]

    Content

    Tip, Spiccato - 2' 00''
    Part - 2' 23''
  • BARTÓK | García Asensio < Violin

    Romanian folkdances for violin and piano (arrangement by Z. Székely)

    3. Pe loc (In one spot)

    CLASS 2526: [O.V.: Spanish]

    Content

    Part - 1' 06''
  • BARTÓK | García Asensio < Violin

    Romanian folkdances for violin and piano (arrangement by Z. Székely)

    4. Buciumeana (Dance of Buchum)

    CLASS 2526: [O.V.: Spanish]

    Content

    Part - 3' 06''
    Portamento, Contrast - 1' 57''
  • BARTÓK | García Asensio < Violin

    Romanian folkdances for violin and piano (arrangement by Z. Székely)

    5. Poarga româeasca (Romanian polka)

    CLASS 2526: [O.V.: Spanish]

    Content

    Part - 6' 02''
    Mordent, Low notes - 2' 20''
    Main melody, Voice identification - 0' 59''

BEETHOVEN, Ludwig van

Picture: BEETHOVEN, Ludwig van

Bonn, 1770 - Vienna, 1827. He was born in the German town of Bonn on the 16th of December 1770. His grandfather Ludwig and his father Johann were both musicians. Johann was to act as little Ludwig's first music teacher, but Ludwig soon changed to the court organist C. G. Neefe. Passing eleven years of age, Ludwig deputized for Neefe, and at twelve had his first music published. He then stayed as Neefe's assistant until 1787, when at seventeen, he took off for Vienna. Even though Vienna was to be his home for the rest of his life, this first visit was short. On hearing that his mother was dying, he quickly returned to Bonn. Five years later he finally moved to Vienna to live and work. After arriving in 1792 he studied composition and counterpoint under Haydn, Schenk, Salieri and Albrechtsberger. At the same time, he tried to establish himself as pianist and composer. His good relations with the towns aristocracy soon led to a secured income. In 1809, with the sole condition that he stayed in Vienna, Prince Kinsky, Prince Lobkowitz and Archduke Rudolp even guaranteed Beethoven a yearly income. But going back to the years around 1800, which is traditionally called the early period, he was still trying to master the high classical style. This strive culminated in the second symphony from 1801-1802. This is also the time when the middle period starts. From now up until 1813, Beethoven develops and enhances the high classical style into a more dynamic and individualistic style. It is now that he writes symphonies Nr. 3 - 8, piano consert Nr. 5 and a lot of chamber music. But as he learns to control his craft and develop the music into new undiscovered grounds, he also suffers from reminders of the pains of real life. He has early in life discovered that his hearing wasn't what it should be, and the disorder gets worse as time goes by. It gets to the point where Beethoven is thinking of ending his life as he sees no way out of his despair. That fact is documented in the letter he wrote to his brothers in 1802, the so called "Heiligenstadt Testament". This hearing disorder seems to have affected his social life to a great extent. He became difficult to handle in social interactions and could suddenly burst into outbreaks of anger and show bad temper where he usually insulted someone. If that is the reason for his troubles with women, or if their is something traumatic hidden in his childhood, I don't know, but the fact is that he never got involved with a woman in a normal relation. Beethoven seems to have been attracted to women he couldn't get, or at least was hard to get. An example is Antoine Brentano, with whom he had a relationship, but who broke up with him to marry a friend. It is she who is known as the "immortal beloved" in letters addressed to her from Beethoven in 1812. Now came a couple of years without much creative work. Instead he was tormented by personal matters concerning his nephew of which he tried to gain custody when the brother died in 1815. But Beethoven didn't have the capacity of a domestic human being, and even though he did win the struggle for custody, Beethovens relation with the nephew was tense and burdensome and it reached the point where little Karl tried to take his own life in 1826. This is also the so called late period in Beethovens musical career. His music is described as less dramatic and more introvert, but also, I would like to add, more mature and secure. It has a flavour of the genius growing old and an obvi

Biography

  • BEETHOVEN | García Asensio < Violin

    Sonata for violin and piano in F major op 24 'Spring'

    II. Adagio molto expressivo

    CLASS 1874: [O.V.: Spanish] [Tras: English ]

    Content

    Metrical rigor or freedom - 2' 13''
    Phrasing, Articulation - 1' 36''
  • BEETHOVEN | García Asensio < Violin

    Sonata for violin and piano in F major op 24 'Spring'

    III. Scherzo. Trio

    CLASS 1874: [O.V.: Spanish] [Tras: English ]

    Content

    Shifts or changes of position , Fingerings - 1' 56''
  • BEETHOVEN | García Asensio < Violin

    Sonata for violin and piano in F major op 24 'Spring'

    IV. Rondo

    CLASS 1874: [O.V.: Spanish] [Tras: English ]

    Content

    Articulation, Expressivity - 1' 42''
    Metrical rigor or freedom, Entries - 1' 06''
    Accents - 2' 22''
  • BEETHOVEN | García Asensio < Violin

    Sonata for violin and piano in G major op 96

    III. Scherzo

    CLASS 2740: [O.V.: Spanish]

    Content

    Part - 6' 28''
    Bow, Ending of the sound - 1' 07''
    Dynamics, Sound balance - 2' 05''
    Breathing, Dynamics - 1' 30''
  • BEETHOVEN | García Asensio < Violin

    Sonata for violin and piano in G major op 96

    IV. Poco allegretto

    CLASS 2740: [O.V.: Spanish]

    Content

    Part - 5' 38''
    Fingerings, Phrasing - 1' 19''
    Sound balance - 1' 16''
    Arm, Bow - 1' 05''
    Part - 3' 37''
    Bow, Rhythm - 1' 42''
    Part - 14' 27''
    Bow distribution, Wrist - 1' 55''
    Dynamics, Tuning - 1' 40''
    Articulation, Relaxation - 1' 46''
  • BEETHOVEN | García Asensio < Violin

    Concerto for piano, violin, cello and orchestra in C major op 56 Triple Concerto (version for violin and piano)

    I. Allegro

    CLASS 1599: [O.V.: Spanish] [Tras: English ]

    Content

    Dynamics, Sound quality - 0' 59''
    Interpenetration, Sound quality - 0' 56''
    Bow - 1' 40''
    Articulation - 1' 07''
    Metrical rigor or freedom - 1' 18''
    Rhythm, Bow - 1' 06''
    Bow - 0' 58''
    Dynamics, Character - 1' 14''
  • BEETHOVEN | García Asensio < Violin

    Concerto for piano, violin, cello and orchestra in C major op 56 Triple Concerto (version for violin and piano)

    II. Largo

    CLASS 1599: [O.V.: Spanish] [Tras: English ]

    Content

    Tempo - 1' 35''
  • BEETHOVEN | García Asensio < Violin

    Concerto for piano, violin, cello and orchestra in C major op 56 Triple Concerto (version for violin and piano)

    III. Rondo alla Polacca

    CLASS 1599: [O.V.: Spanish] [Tras: English ]

    Content

    Articulation, Metrical rigor or freedom - 1' 26''
  • BEETHOVEN | García Asensio < Violin

    Concerto for piano, violin, cello and orchestra in C major op 56 Triple Concerto (violin part)

    I. Allegro

    CLASS 1502: [O.V.: Spanish] [Tras: English ]

    Content

    Ending of the sound, Character - 1' 37''
    Bow distribution, Strings - 1' 58''
    Metrical rigor or freedom, Accents - 1' 55''
    Bow - 2' 45''
    Arm, Weight - 1' 09''
    Dynamics, Bowings - 1' 00''
    Rhythm, Trill - 1' 02''
  • BEETHOVEN | García Asensio < Violin

    Concerto for piano, violin, cello and orchestra in C major op 56 Triple Concerto (violin part)

    III. Rondo alla Polacca

    CLASS 6803: [O.V.: Spanish] [Tras: English ]

    Content

    Articulation - 1' 15''
    Fingerings - 1' 03''
    Character, Metrical rigor or freedom - 1' 58''
    Tempo - 1' 23''
    Dynamics, Scales - 1' 06''
  • BEETHOVEN | García Asensio < Violin

    Concerto for violin and orchestra in D mayor op 61 (violin and piano reduction)

    I. Allegro ma non troppo

    CLASS 2139: [O.V.: Spanish] [Tras: English ]

    Content

    Metrical rigor or freedom - 1' 22''
    Fingerings - 1' 39''
    Fingerings - 1' 33''
    Character, Metrical rigor or freedom - 1' 54''
    Fingerings, Bowings - 1' 57''
  • BEETHOVEN | García Asensio < Violin

    Concerto for violin and orchestra in D mayor op 61 (violin and piano reduction)

    I. Allegro ma non troppo

    CLASS 2155: [O.V.: Spanish] [Tras: English ]

    Content

    Bow - 1' 43''
    Bowings, Fingerings - 1' 20''
    Articulation, Metrical rigor or freedom - 1' 36''
    Fingerings, Dynamics - 2' 33''
    Harmonics, Phrasing - 1' 48''
    Phrasing, Metrical rigor or freedom - 3' 10''
    Fingerings - 1' 37''
  • BEETHOVEN | García Asensio < Violin

    Concerto for violin and orchestra in D mayor op 61 (violin and piano reduction)

    I. Allegro ma non troppo

    CLASS 2243: [O.V.: Spanish] [Tras: English ]

    Content

    Expressivity, Bow - 1' 12''
    Tension, Metrical rigor or freedom - 1' 31''
    Bowings, Bow - 1' 31''
    Bow - 1' 58''
    Articulation, Fingerings - 1' 25''
    Tempo - 1' 56''
    Rhythm, Editions - 4' 05''
    Sound quality - 2' 16''
    Harmony, Metrical rigor or freedom - 2' 31''
    Metrical rigor or freedom, Bow - 2' 08''
    Dynamics, Sound quality - 1' 25''
    Indications for the execution, Bow - 1' 54''
    Study methods, Sound quality - 3' 42''
  • BEETHOVEN | García Asensio < Violin

    Concerto for violin and orchestra in D mayor op 61 (violin and piano reduction)

    I. Allegro ma non troppo

    CLASS 2298: [O.V.: Spanish] [Tras: English ]

    Content

    Metrical rigor or freedom, Interpenetration - 1' 41''
    Shifts or changes of position , Fingerings - 2' 07''
    Tempo, Metrical rigor or freedom - 1' 59''
    Dynamics, Sound balance - 1' 10''
    Tempo, Fingerings - 1' 58''
    Bow, Dynamics - 1' 58''
    Dynamics, Bow - 1' 57''
    Detaché, Bow - 2' 10''
  • BEETHOVEN | García Asensio < Violin

    Concerto for violin and orchestra in D mayor op 61 (violin and piano reduction)

    I. Allegro ma non troppo

    CLASS 2316: [O.V.: Spanish] [Tras: English ]

    Content

    Bow, Articulation - 2' 48''
    Chords, Duration - 1' 54''
    Metrical rigor or freedom - 1' 07''
    Fingerings, Metrical rigor or freedom - 2' 48''
    Rigor or freedom in reading - 1' 20''
    Tempo, Metrical rigor or freedom - 2' 00''
    Description - 5' 33''
  • BEETHOVEN | García Asensio < Violin

    Concerto for violin and orchestra in D mayor op 61 (violin and piano reduction)

    I. Allegro ma non troppo

    CLASS 6832: [O.V.: Spanish] [Tras: English ]

    Content

    Metrical rigor or freedom, Open positions - 1' 35''
    Sound quality, Harmonics - 1' 14''
    Indications for the execution, Bow - 2' 47''
    Pressure, Relaxation - 1' 28''
    Bow, Phrasing - 1' 24''
    Phrasing, Melody - 1' 28''
    Metrical rigor or freedom - 1' 16''
    Bowings, Detaché - 1' 24''
    Vibrato, Tuning - 1' 38''
    Bowings - 1' 25''
    Trill, Styles and periods - 1' 05''
    Fingerings, Dynamics - 1' 25''
    Tempo, Metrical rigor or freedom - 1' 17''
    Tempo, Dynamics - 1' 25''
  • BEETHOVEN | García Asensio < Violin

    Concerto for violin and orchestra in D mayor op 61 (violin and piano reduction)

    II. Larghetto

    CLASS 2305: [O.V.: Spanish] [Tras: English ]

    Content

    Bowings, Ornamentation - 1' 36''
    Expressivity, Timbre - 2' 40''
    Attitude of the musician, Fingerings - 1' 30''
    Dynamics, Trill - 2' 13''
    Tempo, Metrical rigor or freedom - 4' 23''
    Phrasing, Fingerings - 1' 30''
    Metrical rigor or freedom, Interpenetration - 1' 23''
    Metrical rigor or freedom, Tempo - 2' 25''
    Articulation, Fingerings - 2' 09''
    Attitude of the musician, Phrasing - 2' 36''
    Metrical rigor or freedom - 2' 16''
    Fingerings, Tuning - 2' 40''
  • BEETHOVEN | García Asensio < Violin

    Concerto for violin and orchestra in D mayor op 61 (violin and piano reduction)

    II. Larghetto

    CLASS 2316: [O.V.: Spanish] [Tras: English ]

    Content

    Tuning, Fingerings - 2' 07''
    Dynamics, The work - 4' 00''
    Dynamics, Character - 1' 03''
    Scales, Metrical rigor or freedom - 2' 00''
    Metrical rigor or freedom - 1' 16''
    Fingerings, Metrical rigor or freedom - 1' 26''
  • BEETHOVEN | García Asensio < Violin

    Concerto for violin and orchestra in D mayor op 61 (violin and piano reduction)

    III. Rondo. Allegro

    CLASS 2298: [O.V.: Spanish] [Tras: English ]

    Content

    Articulation - 0' 56''
    Timbre, Rigor or freedom in reading - 1' 37''
    Bowings, Fingerings - 2' 01''
  • BEETHOVEN | García Asensio < Violin

    Concerto for violin and orchestra in D mayor op 61 (violin and piano reduction)

    III. Rondo. Allegro

    CLASS 2305: [O.V.: Spanish] [Tras: English ]

    Content

    Fingerings, Duration - 1' 38''
    Bowings, Fingerings - 1' 51''
    Phrasing, Fingerings - 2' 16''
    Bowings, Fingers - 1' 14''
  • BEETHOVEN | García Asensio < Violin

    Overture in C major op 138 Leonore no. 1 (violin part)

    CLASS 1698: [O.V.: Spanish] [Tras: English ]

    Content

    Fingerings, Scales - 1' 08''
  • BEETHOVEN | García Asensio < Violin

    Romance for violin solo and orchestra in F major op 50 (violin and piano reduction)

    CLASS 1713: [O.V.: Spanish] [Tras: English ]

    Content

    Expressivity, Portamento - 1' 40''
    Shifts or changes of position - 1' 58''
    Duration - 1' 31''
    Duration, Metrical rigor or freedom - 1' 24''
    Vibrato - 3' 21''
    Vibrato - 1' 30''
    Vibrato, High notes - 1' 57''
  • BEETHOVEN | García Asensio < Violin

    Romance for violin solo and orchestra in F major op 50 (violin and piano reduction)

    CLASS 1777: [O.V.: Spanish] [Tras: English ]

    Content

    Dynamics, Expressivity - 2' 11''
    Fingerings - 2' 34''
    Tip - 1' 06''
    Fingers, Fingerings - 1' 08''
    Sound preparation, Shifts or changes of position - 1' 27''
    Metrical rigor or freedom - 1' 06''
    Dynamics, Sound balance - 1' 28''
    Bow distribution - 1' 12''
    Fingerings - 1' 48''
    Bow distribution - 1' 06''
    Bow, Character - 1' 03''
    Dynamics - 1' 19''
    Sound balance, Dynamics - 1' 10''
    Repetition, Dynamics - 1' 10''
    Emission, Bridge - 1' 19''
    Character, Position - 1' 30''
  • BEETHOVEN | García Asensio < Violin

    Romance for violin solo and orchestra in F major op 50 (violin and piano reduction)

    CLASS 2191: [O.V.: Spanish] [Tras: English ]

    Content

    Fingerings, Tuning - 1' 35''
    Dynamics, Bow distribution - 1' 21''
    Tuning, Metrical rigor or freedom - 1' 17''
    Phrasing, Bow - 1' 33''
    Sound preparation, Bow distribution - 1' 37''
    Fingers, Tuning - 1' 17''
    Bow, Sound balance - 4' 47''
    Articulation, Interpenetration - 2' 10''
    Shifts or changes of position , Clarity of execution - 2' 34''
    Articulation, Editions - 2' 52''
    Articulation, Styles and periods - 1' 15''
    Ornamentation, Styles and periods - 1' 32''

BRAHMS, Johannes

Picture: BRAHMS, Johannes

Hamburg, 1833 - Vienna, 1897. Brahms was born in Hamburg. His father, who gave him his first music lessons, was a double bassist. Brahms showed early promise on the piano and helped to supplement the rather meager family income by playing the piano in restaurants and theaters, as well as by teaching. Although it is a widely-told tale that Brahms had to play the piano in bars and brothels, recent research, for example that by Kurt Hoffman, suggest that this is probably false. For a time, he also learned the violoncello, although his progress was cut short when his teacher absconded with Brahms's instrument. The young Brahms gave a few public concerts, but did not become well known as a pianist (although in later life he gave the premieres of both his Piano Concerto No. 1 in 1859 and his Piano Concerto No. 2 in 1881). He also began to compose, but his efforts did not receive much attention until he went on a concert tour with Eduard Reményi in 1853. On this tour he met Joseph Joachim, Franz Liszt, and later was introduced to the great German composer Robert Schumann. Reményi was, however, offended by Brahms' failure to praise Liszt's 'Sonata in B minor' wholeheartedly on a visit to the Court of Weimar where Liszt was the court musician. Many of Brahms' friends cited that Reményi, being the polished courtier, had expected the younger Brahms to conform to common practice of politely applauding a celebrity's piece which Brahms either failed to do or did not appear to do so with condescending compliment. He told Brahms that their friendship must end although it was not clear as to whether Liszt felt offended or otherwise. Joachim, however was to become one of his closest friends, and Schumann, through articles championing the young Brahms, played an important role in alerting the public to the young man's compositions. Brahms also became acquainted with Schumann's wife, the composer and pianist Clara, 14 years his senior, with whom he carried on a lifelong, emotionally passionate, but always platonic relationship. Brahms never married. In 1862 he settled permanently in Vienna and began to concentrate fully on composing. With work such as the German Requiem, Brahms eventually established a strong reputation and came to be regarded in his own lifetime as one of the great composers. This may have given him the confidence finally to complete his first symphony; this appeared in 1876, after about ten years of work. The other three symphonies then followed in fairly rapid succession (1877, 1883, 1885). Brahms frequently traveled, both for business (concert tours) and pleasure. He often visited Italy in the springtime, and usually sought out a pleasant rural location in which to compose during the summer. In 1890, the 57-year-old Brahms resolved to give up composing. However, as it turned out, he was unable to abide by his decision, and in the years before his death he produced a number of acknowledged masterpieces, including the two clarinet sonatas Op. 120 (1894) and the Four Serious Songs (Vier ernste Gesänge) Op. 121 (1896). While completing the Op. 121 songs Brahms fell ill of cancer (sources differ on whether this was of the liver or pancreas). His condition gradually worsened and he died on April 3, 1897. Brahms is buried in the Zentralfriedhof in Vienna.

Biography

  • BRAHMS | García Asensio < Violin

    Concerto for violin and orchestra in D major op 77 (violin and piano reduction)

    I. Allegro non troppo

    CLASS 1822: [O.V.: English] [Tras: Spanish ]

    Content

    Fingerings, Timbre - 1' 35''
    Metrical rigor or freedom - 0' 58''
    Portamento, Clarity of execution - 1' 51''
    Bow, The author - 1' 51''
    The author - 1' 20''
    Portamento, Dynamics - 2' 36''
    Expressivity, Tempo - 1' 51''
    Expressivity - 1' 20''
    Tempo - 1' 34''
  • BRAHMS | García Asensio < Violin

    Concerto for violin and orchestra in D major op 77 (violin and piano reduction)

    II. Adagio

    CLASS 1822: [O.V.: English] [Tras: Spanish ]

    Content

    Tempo - 1' 46''
  • BRAHMS | García Asensio < Violin

    Concerto for violin and orchestra in D major op 77 (violin and piano reduction)

    III. Allegro giocoso, ma non troppo vivace

    CLASS 1535: [O.V.: English] [Tras: Spanish ]

    Content

    Phrasing, Metrical rigor or freedom - 1' 58''
    Dynamics - 0' 53''
    Phrasing - 1' 51''
    Arpeggio, Duration - 0' 58''
    Vibrato - 2' 01''
    Character, Vibrato - 2' 05''
    Accents - 1' 56''
    Metrical rigor or freedom - 1' 10''
    Chords, Bow - 3' 49''
    Interpenetration, Metrical rigor or freedom - 2' 04''
    Character - 4' 06''
  • BRAHMS | García Asensio < Violin

    Sonata for violin and piano no. 1 in G major op 78

    I. Vivace ma non troppo

    CLASS 2203: [O.V.: Spanish] [Tras: English ]

    Content

    Bow, Sound quality - 3' 33''
    Dynamics, Duration - 1' 23''
    Fingerings, Rhythm - 2' 42''
    Tension, Repetition - 1' 13''
    Dynamics, Articulation - 1' 35''
    Bow, Phrasing - 3' 41''
    Phrasing, Bow - 1' 41''
    Articulation, Fingerings - 3' 25''
    Bow - 2' 26''
    Fingerings, Metrical rigor or freedom - 2' 44''
    Vibrato, Pizzicato - 3' 06''
    Sound balance, Rigor or freedom in reading - 1' 37''
    Character, Articulation - 3' 31''
    Tempo, Bowings - 2' 56''
    Phrasing, Dynamics - 2' 13''
    Bowings, Bow direction - 4' 03''
    Styles and periods, Portamento - 1' 11''
  • BRAHMS | García Asensio < Violin

    Sonata for violin and piano no. 1 in G major op 78

    I. Vivace ma non troppo

    CLASS 7421: [O.V.: Spanish]

    Content

    Part - 27' 10''
    Part - 15' 34''
  • BRAHMS | García Asensio < Violin

    Sonata for violin and piano no. 2 in A major op 100

    I. Allegro amabile

    CLASS 2063: [O.V.: Spanish] [Tras: English ]

    Content

    Dynamics, Metrical rigor or freedom - 3' 09''
    Bow distribution - 1' 37''
    Shifts or changes of position , Fingerings - 1' 37''
    Metrical rigor or freedom, Vibrato - 2' 54''
    Character - 1' 48''
    Metrical rigor or freedom, Interpenetration - 3' 44''
    Dynamics, Tuning - 1' 48''
  • BRAHMS | García Asensio < Violin

    Sonata for violin and piano no. 2 in A major op 100

    I. Allegro amabile

    CLASS 2153: [O.V.: Spanish] [Tras: English ]

    Content

    Dynamics, Rigor or freedom in reading - 3' 23''
    Study methods, Attitude of the musician - 1' 07''
    Metrical rigor or freedom, Interpenetration - 2' 14''
    Accents, Bow - 1' 38''
    Fingerings, Portamento - 2' 46''
  • BRAHMS | García Asensio < Violin

    Sonata for violin and piano no. 2 in A major op 100

    I. Allegro amabile

    CLASS 2235: [O.V.: Spanish] [Tras: English ]

    Content

    Articulation, Phrasing - 1' 00''
  • BRAHMS | García Asensio < Violin

    Sonata for violin and piano no. 2 in A major op 100

    I. Allegro amabile

    CLASS 2682: [O.V.: Spanish] [Tras: Spanish ]

    Content

    Part - 9' 45''
    Contrast, Character - 1' 39''
    Expressivity, Harmony - 1' 14''
    Dynamics, Interpenetration - 1' 22''
    Fingerings, Aesthetics - 1' 03''
    Part - 20' 17''
    Contrast, Articulation - 0' 58''
    Portamento, Styles and periods - 2' 23''
    Articulation, Duration - 1' 56''
    Phrasing, Dynamics - 1' 13''
    The author, Bow-strokes - 2' 41''
    Contrast, Bow direction - 2' 25''
    Fingerings, Shifts or changes of position - 1' 37''
    Accents, Metrics - 1' 15''
    Tempo, Bow - 2' 46''
    Part - 14' 43''
    Arm, Attacks - 2' 18''
    Fingerings, Tuning - 1' 52''
    Interpenetration, Study methods - 5' 05''
    Bow direction - 1' 13''
    Phrasing, Metrical rigor or freedom - 1' 46''
  • BRAHMS | García Asensio < Violin

    Sonata for violin and piano no. 2 in A major op 100

    II. Andante tranquillo - Vivace

    CLASS 2009: [O.V.: Spanish] [Tras: English ]

    Content

    Fingerings - 2' 51''
    Phrasing - 2' 29''
    Bow - 0' 58''
    Fingerings - 1' 23''
    Left hand, Sound preparation - 2' 38''
  • BRAHMS | García Asensio < Violin

    Sonata for violin and piano no. 2 in A major op 100

    II. Andante tranquillo - Vivace

    CLASS 2063: [O.V.: Spanish] [Tras: English ]

    Content

    Duration, Articulation - 2' 04''
    Right hand, Pizzicato - 6' 05''
    Fingerings - 1' 44''
    Metrical rigor or freedom - 1' 13''
  • BRAHMS | García Asensio < Violin

    Sonata for violin and piano no. 2 in A major op 100

    II. Andante tranquillo - Vivace

    CLASS 2570: [O.V.: Spanish]

    Content

    Pizzicato, Attacks - 0' 58''
    Phrasing, Pizzicato - 1' 13''
    Pizzicato, Attacks - 2' 49''
  • BRAHMS | García Asensio < Violin

    Sonata for violin and piano no. 2 in A major op 100

    III. Allegretto grazioso (quasi Andante)

    CLASS 2063: [O.V.: Spanish] [Tras: English ]

    Content

    Articulation, Character - 2' 31''
    Metrical rigor or freedom - 1' 09''
    Tempo, Metrical rigor or freedom - 2' 05''
  • BRAHMS | García Asensio < Violin

    Sonata for violin and piano no. 2 in A major op 100

    III. Allegretto grazioso (quasi Andante)

    CLASS 2153: [O.V.: Spanish] [Tras: English ]

    Content

    Sound preparation, Tuning - 2' 48''
    Body gestures - 1' 04''
  • BRAHMS | García Asensio < Violin

    Sonata for violin and piano no. 2 in A major op 100

    III. Allegretto grazioso (quasi Andante)

    CLASS 2570: [O.V.: Spanish]

    Content

    Tuning, Interval - 1' 24''
    Accompaniment, Interpenetration - 2' 17''
    The public, Description - 1' 49''
  • BRAHMS | García Asensio < Violin

    Concerto for violin and orchestra in D major op 77 (violin part)

    I. Allegro non troppo

    CLASS 1629: [O.V.: English] [Tras: Spanish ]

    Content

    Metrical rigor or freedom, Bow - 2' 20''
    Shifts or changes of position , Phrasing - 1' 39''
    Tension, Bowings - 2' 43''
    Vibrato, Shifts or changes of position - 2' 31''
    Sound quality - 1' 42''
    Accents, Metrical rigor or freedom - 3' 32''
    Harmonics, Shifts or changes of position - 2' 45''
    Sound quality, Fingerings - 2' 18''
    Metrical rigor or freedom, Bow - 1' 15''
    Chords, Study methods - 2' 58''
    Metrical rigor or freedom, Interpenetration - 2' 39''
    Sound quality, Evenness - 2' 30''
    Improvised cadenza, Metrical rigor or freedom - 1' 53''

BRUCH, Max

Picture: BRUCH, Max

Köln, 1838 - Friedenau, 1920

Biography

  • BRUCH | García Asensio < Violin

    Concerto for violin and orchestra in G minor op 26 (violin and piano reduction)

    I. Allegro moderato

    CLASS 2315: [O.V.: Spanish] [Tras: English ]

    Content

    Duration, Dynamics - 2' 22''
    Fingerings - 1' 35''
    Chords, Bow - 2' 57''
    Fingerings, Chords - 4' 49''
    Tempo - 3' 04''
    Melody - 2' 18''
  • BRUCH | García Asensio < Violin

    Concerto for violin and orchestra in G minor op 26 (violin and piano reduction)

    III. Finale. Allegro energico

    CLASS 2486: [O.V.: Spanish]

    Content

    Part - 3' 56''
    Bow-strokes, Duration - 1' 50''
    Part - 32' 25''
    Left hand, Arpeggio - 1' 07''
    Metrical rigor or freedom, Bow - 4' 02''
    Fingerings, Study methods - 3' 33''
    Fingerings, Shifts or changes of position - 1' 21''
    Left hand, Fingerings - 2' 28''
    Shifts or changes of position , Harmonics - 1' 11''
    Study methods, Arm - 1' 46''
    Tuning, Shifts or changes of position - 1' 28''
    Bow distribution - 1' 00''
    Tuning, Study methods - 5' 41''
  • BRUCH | García Asensio < Violin

    Fantasie unter freier Benutzungschottischer Volksmelodien for violin and orchestra op 46 'Schottische Fantasie' (violin and piano reduction)

    III. Andante sostenuto

    CLASS 1529: [O.V.: Spanish] [Tras: English ]

    Content

    Articulation - 2' 31''
    Bow - 1' 04''
  • BRUCH | García Asensio < Violin

    Fantasie unter freier Benutzungschottischer Volksmelodien for violin and orchestra op 46 'Schottische Fantasie' (violin and piano reduction)

    III. Andante sostenuto

    CLASS 1642: [O.V.: Spanish] [Tras: English ]

    Content

    Fingerings, Repetition - 1' 58''
    Expressivity - 2' 30''
    Fingerings - 1' 35''
    Fingerings - 1' 08''
    Tuning, Fingerings - 1' 38''
    Relaxation, Vibrato - 2' 33''
    Bow - 1' 39''
    Bow direction, Body gestures - 1' 20''
    Bow - 1' 26''
    Bow, Interpenetration - 1' 17''
  • BRUCH | García Asensio < Violin

    Fantasie unter freier Benutzungschottischer Volksmelodien for violin and orchestra op 46 'Schottische Fantasie' (violin and piano reduction)

    III. Andante sostenuto

    CLASS 1682: [O.V.: Spanish] [Tras: English ]

    Content

    Character, Body gestures - 1' 31''
    Articulation, Bow direction - 1' 00''
  • BRUCH | García Asensio < Violin

    Fantasie unter freier Benutzungschottischer Volksmelodien for violin and orchestra op 46 'Schottische Fantasie' (violin and piano reduction)

    Introducción. Grave

    CLASS 1517: [O.V.: Spanish] [Tras: English ]

    Content

    Recording - 2' 32''
    Fingerings - 1' 43''
    Duration, Character - 2' 28''
    Metrical rigor or freedom, String-crossing - 2' 45''
  • BRUCH | García Asensio < Violin

    Fantasie unter freier Benutzungschottischer Volksmelodien for violin and orchestra op 46 'Schottische Fantasie' (violin and piano reduction)

    Introducción. Grave

    CLASS 1529: [O.V.: Spanish] [Tras: English ]

    Content

    Bow - 1' 26''
    Fingerings - 2' 52''
    Bow direction, Sound quality - 2' 03''
    Fingerings - 1' 26''
    Clarity of execution, Portamento - 2' 12''
  • BRUCH | García Asensio < Violin

    Fantasie unter freier Benutzungschottischer Volksmelodien for violin and orchestra op 46 'Schottische Fantasie' (violin and piano reduction)

    I. Adagio cantabile

    CLASS 1517: [O.V.: Spanish] [Tras: English ]

    Content

    Pressure, Octaves - 1' 58''
    Metrical rigor or freedom, Tempo - 2' 26''
  • BRUCH | García Asensio < Violin

    Fantasie unter freier Benutzungschottischer Volksmelodien for violin and orchestra op 46 'Schottische Fantasie' (violin and piano reduction)

    II. Allegro

    CLASS 1529: [O.V.: Spanish] [Tras: English ]

    Content

    Fingerings - 0' 57''
  • BRUCH | García Asensio < Violin

    Fantasie unter freier Benutzungschottischer Volksmelodien for violin and orchestra op 46 'Schottische Fantasie' (violin and piano reduction)

    II. Allegro

    CLASS 1682: [O.V.: Spanish] [Tras: English ]

    Content

    Bow - 2' 52''
    Fingerings - 1' 53''
    Metrics, Character - 2' 19''
    Metrics, Bowings - 4' 22''
    Bow direction, Rigor or freedom in reading - 1' 29''
    Metrical rigor or freedom, Metrics - 1' 41''
    Fingerings - 2' 35''
    Tempo, Metrical rigor or freedom - 3' 13''
  • BRUCH | García Asensio < Violin

    Fantasie unter freier Benutzungschottischer Volksmelodien for violin and orchestra op 46 'Schottische Fantasie' (violin and piano reduction)

    III. Andante sostenuto

    CLASS 1682: [O.V.: Spanish] [Tras: English ]

    Content

    Character, Body gestures - 1' 31''

CHAUSSON, Ernest

Picture: CHAUSSON, Ernest

Paris, 1855 - Limay, 1899

Biography

  • CHAUSSON | García Asensio < Violin

    Poème for solo violin and orchestra op 25 (violin and piano reduction)

    CLASS 1825: [O.V.: Spanish] [Tras: English ]

    Content

    Tuning, Character - 3' 30''
    Pulse - 1' 08''
    Bow - 1' 40''
    Metrical rigor or freedom - 1' 16''
  • CHAUSSON | García Asensio < Violin

    Poème for solo violin and orchestra op 25 (violin and piano reduction)

    CLASS 1845: [O.V.: Spanish] [Tras: English ]

    Content

    Vibrato, Pulse - 3' 00''
    Metrical rigor or freedom - 2' 56''
    Tempo - 1' 11''
    Relaxation, Attitude of the musician - 1' 41''
    Dynamics - 1' 17''
    Left hand, Relaxation - 1' 16''
    Tempo - 1' 06''

FAURÉ, Gabriel

Picture: FAURÉ, Gabriel

Pàmiers, 1845 - Paris, 1924. Gabriel Urbain Fauré was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th century composers. Among his best-known works are his Nocturnes for piano, the songs "Après un rêve" and "Clair de lune", and his Requiem. Born into a cultured but not unusually musical family, Fauré revealed his talent when he was a small boy. He was sent to a music college in Paris, where he was trained to be a church organist and choirmaster. Among his teachers was Camille Saint-Saëns, who became a life-long friend. In his early years, Fauré earned a modest living as an organist and teacher, leaving him little time for composition. When he became successful, holding the important posts of organist of the Église de la Madeleine and head of the Paris Conservatoire, he still lacked time for composing, retreating to the countryside in the summer holidays to concentrate on composition. By his last years, Fauré was recognised in France as the leading French composer of his day. An unprecedented national musical tribute was held for him in Paris in 1922 headed by the President of the Republic. Fauré had many admirers in England, but his music, though known in other countries, took many decades more to become widely accepted. His music has been described as linking the end of Romanticism with the modernism of the second quarter of the 20th century. When he was born, Hector Berlioz was still composing, and by the time of his death the atonal music of the Second Viennese School was being heard. The Grove Dictionary of Music and Musicians, which describes him as the most advanced composer of his generation in France, notes that his harmonic and melodic innovations affected the teaching of harmony for later generations. In contrast with the charm of his earlier music, his last works, written when increasing deafness had struck him, are elusive and withdrawn in character.

Biography

  • FAURÉ | García Asensio < Violin

    Sonata for violin and piano no. 1 in A major op 13

    I. Allegro molto

    CLASS 2667: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 13' 32''
    Vibrato, Sound quality - 1' 19''
    Metrical rigor or freedom, Silence - 1' 18''
    Octaves, Fingers - 1' 43''
  • FAURÉ | García Asensio < Violin

    Sonata for violin and piano no. 1 in A major op 13

    II. Andante

    CLASS 2667: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 22' 12''
    Phrasing - 1' 02''
    Expressivity, Portamento - 2' 52''
    Character, Vibrato - 1' 28''
    Vibrato - 1' 52''
    Portamento, Bow direction - 2' 52''
    Fingerings, Bow direction - 1' 34''
    Fingerings, Metrical rigor or freedom - 2' 21''
  • FAURÉ | García Asensio < Violin

    Sonata for violin and piano no. 1 in A major op 13 (violin part)

    I. Allegro molto

    CLASS 2667: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 2' 43''
    Scales, Fingerings - 2' 43''

FRANCK, César

Picture: FRANCK, César

Lieja, 1822 - Paris, 1890. Born at Liège in 1822, César Franck was originally intended by his father for a career as a virtuoso pianist. In Paris his nationality excluded him at first from the Conservatoire, where he eventually failed to achieve the necessary distinction as a performer, turning his attention rather to composition. In 1846 he left home and went to earn his living as a teacher and organist, winning particular fame in the second capacity at the newly built church of Ste. Clotilde, with its Cavaillé-Coll organ. He drew to him a loyal and devoted circle of pupils and in 1871 won some official recognition as the nominated successor of Benoist as organ professor at the Conservatoire. A man of gentle character, known to his pupils as Pater seraphicus, he exercised considerable influence through his classes and performances, although remaining something of an outsider as a composer in a Paris interested largely in opera. Franck's best known Orchestral music are the Symphonic Variations for solo piano and orchestra and the Symphony in D minor, completed in 1888 and first performed at a Conservatoire concert the following year. A brief series of symphonic poems includes the early Ce qu'on entend sur la montagne, based on Victor Hugo, Le chasseur maudit, inspired by a ballad by Burger, Les Djinns, after Hugo, and Psyché, a work that also calls for a chorus. Franck wrote a number of large scale Choral music on biblical subjects, with smaller scale works for occasional or liturgical use. This last category includes the well known Panis angelicus of 1872, originally for tenor, organ, harp, cello and double bass. The Panis angelicus was later interpolated into the three-voice Mass of 1861. Franck wrote one Violin Sonata, which, like his symphony, is united by a cyclic use of thematic material that connects the movements. There is a fine Piano Quintet, completed in 1879 and a final String Quartet, written in 1890. As a very distinguished organist, Franck wrote remarkably little for the instrument on which his improvisations had won him fame and pupils. Organ compositions published include Trois chorals of 1890 and three pieces, Trois pièces, written a dozen years earlier. The six organ pieces of 1860-62 include a Fantaisie, Grande pièce symphonique, Prélude, fugue et variation, Pastorale, Prière and Final. Franck's earlier piano music was designed for his own virtuoso performance. Two later works remain in general repertoire, the Prélude, choral et fugue of 1884 and the Prélude, aria et final completed in 1887.

Biography

  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    I. Allegro non troppo

    CLASS 1579: [O.V.: Spanish] [Tras: English ]

    Content

    Tempo, Metrics - 1' 47''
  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    I. Allegro non troppo

    CLASS 1624: [O.V.: Spanish] [Tras: English ]

    Content

    Harmony, Phrasing - 4' 54''
    Metrical rigor or freedom - 1' 33''
    Dynamics - 1' 14''
    Portamento, Shifts or changes of position - 3' 37''
    Fingerings, Portamento - 1' 52''
  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    I. Allegro non troppo

    CLASS 1683: [O.V.: Spanish] [Tras: English ]

    Content

    Dynamics, Bow distribution - 2' 36''
    Character, Duration - 1' 10''
    Bow direction, Fingerings - 1' 05''
    Rhythm, Character - 1' 23''
    Metrical rigor or freedom, Portamento - 1' 05''
    Bow direction, Maintaining the sound - 3' 05''
    Harmonics, Bowings - 1' 16''
    Bowings, Fingerings - 2' 50''
  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    I. Allegro non troppo

    CLASS 1821: [O.V.: Spanish] [Tras: English ]

    Content

    Timbre, Fingerings - 1' 11''
    Tempo, Metrical rigor or freedom - 1' 54''
    Interpenetration, Entries - 1' 03''
    Harmony, Sound planes - 1' 18''
    Dynamics - 1' 34''
    Rhythm - 1' 03''
    Fingerings - 1' 30''
    Attitude of the musician, Phrasing - 2' 25''
  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    I. Allegro non troppo

    CLASS 1875: [O.V.: Spanish] [Tras: English ]

    Content

    Fingers, Tuning - 1' 50''
    Fingerings, Shifts or changes of position - 1' 59''
  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    I. Allegro non troppo

    CLASS 2107: [O.V.: Spanish] [Tras: English ]

    Content

    Sound quality, Tempo - 2' 18''
    Character, Dynamics - 1' 00''
  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    I. Allegro non troppo

    CLASS 6802: [O.V.: English] [Tras: Spanish ]

    Content

    Repetition, Fingerings - 2' 17''
    Fingerings - 2' 11''
    Form, Description - 4' 05''
    Shifts or changes of position , Character - 1' 04''
  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    I. Allegro non troppo

    CLASS 6806: [O.V.: Spanish] [Tras: English ]

    Content

    Interpenetration - 3' 02''
    Tension, Harmony - 4' 00''
  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    II. Adagio

    CLASS 1579: [O.V.: Spanish] [Tras: English ]

    Content

    Tempo - 2' 09''
    Timbre, Fingerings - 1' 23''
    Tempo - 2' 56''
  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    II. Adagio

    CLASS 1624: [O.V.: Spanish] [Tras: English ]

    Content

    Fingerings - 2' 17''
    Cadence, Phrasing - 2' 09''
    Sound quality, Bow - 1' 50''
    Vibrato - 1' 23''
    Vibrato, Attitude of the musician - 3' 03''
    Vibrato, Sound balance - 2' 23''
    Bow, Vibrato - 2' 48''
  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    II. Adagio

    CLASS 1683: [O.V.: Spanish] [Tras: English ]

    Content

    Metrical rigor or freedom, Character - 1' 18''
    Fingerings - 2' 43''
    Metrical rigor or freedom, Interpenetration - 1' 30''
    Fingerings, Interpenetration - 1' 34''
    Phrasing, Voice identification - 1' 06''
    Tempo - 2' 20''
    Fingerings, Expressivity - 2' 18''
    Fingerings - 1' 43''
  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    II. Adagio

    CLASS 1821: [O.V.: Spanish] [Tras: English ]

    Content

    Fingerings - 2' 47''
    Bow, Shifts or changes of position - 2' 37''
    Tuning - 1' 06''
    Sound planes, Fingerings - 1' 20''
    Fingerings - 1' 40''
  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    II. Adagio

    CLASS 1827: [O.V.: Spanish] [Tras: English ]

    Content

    Dynamics, Fingerings - 1' 59''
    Fingerings - 1' 43''
    Fingerings, Sound balance - 2' 39''
    Interpenetration, Tempo - 4' 21''
    Articulation, Fingerings - 2' 12''
    Character, Bow - 1' 36''
    Tempo, Rigor or freedom in reading - 2' 31''
  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    II. Adagio

    CLASS 1875: [O.V.: Spanish] [Tras: English ]

    Content

    Thirds, Fingerings - 2' 05''
    Timbre, Shifts or changes of position - 2' 44''
  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    II. Adagio

    CLASS 2107: [O.V.: Spanish] [Tras: English ]

    Content

    Ending of the sound, Clarity of execution - 1' 24''
    Accents, Articulation - 2' 02''
    Timbre, Fingerings - 1' 48''
    Attacks - 1' 34''
  • FRANCK | García Asensio < Violin

    Sonata for violin and piano in A major

    II. Adagio

    CLASS 2299: [O.V.: Spanish] [Tras: English ]

    Content

    Articulation, Clarity of execution - 1' 01''
    Accents, Duration - 1' 13''
    Metrical rigor or freedom - 2' 04''
    Bow, Metrical rigor or freedom - 1' 00''
    Sound quality, Fingerings - 1' 08''
    Metrical rigor or freedom, Interpenetration - 2' 34''

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