Name: Avi Avital Ksenija Sidorova
Start: 2024-07-30T00:00:00.000Z
End: 2024-07-30T00:00:00.000Z
Location: Eglise de Verbier

Admin

Verbier Festival

Instrumentalist

Avi Avital

Guitarra II

Avi Avital / Ksenija Sidorova

Bagnes

Switzerland

Eglise de Verbier

Avi Avital / Ksenija Sidorova: Praeludium and Allegro in the style of Pugnani, IFK 25 Kreisler, F. (+6 More)

Public

Praeludium and Allegro in the style of Pugnani, IFK 25

Violin Sonata in E minor, K. 304

Pulcinella, suite

Romanian Folk Dances, Sz.56

Seven Spanish Folksongs

Life is Short

Introduzione e rondó capriccioso, op. 28

Akshay C K

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Fritz Kreisler attribuait initialement, et non sans malice, son pastiche Prélude et Allegro au compositeur baroque italien qu’il imitait, Gaetano Pugnani. Publiée en 1910, cette œuvre se prête merveilleusement bien à la transcription de ce concert, tout comme les trois pièces de la Suite italienne de Stravinsky, inspirées du folklore russe et retranscrites en 1932 pour le violoncelliste Gregor Piatigorsky à partir des thèmes de son ballet Pulcinella. Après une introduction lumineuse vient une Serenata mélancolique puis une Tarantelle rapide qui dans l’original avait un pizzicato virtuose. Bartók, grand amateur de chansons folkloriques, publia en 1915 Six Danses Populaires roumaines qui commencent par une danse des bâtons digne pour les hommes et progressent en une danse de rubans pour les couples, puis une danse de sur place, une danse sensuelle et finalement deux autres danses dont une polka. Les six chansons populaires espagnoles de De Falla, publiées l’année précédente, imitent la guitare dans leur composition originale au piano. La célèbre série Bachiana Brasiliera de Villa Lobos fusionne quant à elle la musique folklorique de son Brésil natal avec le style de Bach. Le N°5 est orchestré pour un soprano et huit violoncelles. L’Espagne est également mise à l’honneur dans l’Introduction et Rondo capriccioso de Camille Saint-Saëns composés en 1863 pour son ami virtuose et violoniste Pablo de Sarasate.

français

Fritz Kreisler initially cheekily attributed his pastiche Praeludium and Allegro to the Italian baroque composer he was imitating, Gaetano Pugnani. Published in 1910, its passagework lends itself beautifully to this concert’s transcription. As do the three Russian folk-inspired pieces from the Suite italienne Stravinsky transcribed in 1932 for cellist Gregor Piatigorsky, of themes from his ballet, Pulcinella. Following the bright introduction comes a melancholy Serenata, then a racing Tarantella which in the original featured virtuosic pizzicato. Avid folk song collector Bartók’s Six Romanian Folk Dances, published in 1915, begin with a dignified stick dance for men, then progress through a flirtatious couples’ sash dance, an on-the-spot stamping dance, a sultry horn dance, and two further fast dances, the first a polka. De Falla’s six Spanish folk songs of the previous year imitated the guitar in their original piano accompaniment. Villa Lobos’s famous Bachiana Brasilieras series meanwhile fused his native Brazil’s folk music with the style of Bach, No. 5 scored for soprano and eight cellos. It’s equally Spain being honoured in Saint-Saëns’s Introduction and Rondo capriccioso, composed in 1863 for his virtuoso violinist friend, Pablo de Sarasate.

English

Avi Avital / Ksenija Sidorova by Kreisler, F., Mozart, Stravinsky, Bartók, Falla, Saint-Saëns, Frá (2024/2024), Eglise de Verbier, Bagnes, Switzerland

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