Jean Sibelius - Violin Concert D-Moll - I. Allegro moderato, II. Adagio di molto
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Jean Sibelius - Violin Concert D-Moll - I. Allegro moderato, II. Adagio di molto - оригинальный текст песни, перевод, видео
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Ян Сибелиус, Концерт для скрипки с оркестром ре-минор (1905)
Скрипка была любимым инструментом Яна Сибелиуса. В юности композитор мечтал о блестящей карьере скрипача-виртуоза. Увы, этим мечтам не суждено было сбыться: его занятия на этом инструменте начались слишком поздно, вдобавок Сибелиус перенес травму плеча, которая заставила его окончательно отказаться от своих честолюбивых намерений. Тем не менее композитор никогда не терял интереса к скрипке и мог подолгу предаваться импровизациям на ней. Приближаясь к 40-летнему рубежу, он отмечал: «Все еще существует часть меня, стремящаяся стать скрипачом, и эта часть проявляет себя необычным образом». Вскоре Сибелиус приступил к работе над своим единственным скрипичным концертом, в который вложил всю свою любовь и близкое знание инструмента.
Концерт знаменит своей чрезвычайной сложностью: в нем ярко выражено стремление композитора выявить беспредельные выразительные возможности скрипки – те, что для него самого как исполнителя не были доступны. Берлинская премьера сочинения прошла с невероятным успехом, а его музыка побудила одного из критиков к причудливому сравнению с «живописными скандинавскими зимними пейзажами, на которых художники посредством утонченной игры белого на белом добиваются редких, подчас гипнотических и мощных эффектов».
Jan Sibelius, concert for violin with the re-minor orchestra (1905)
The violin was a favorite tool of Yana Sibelius. In his youth, the composer dreamed of a brilliant career of violin-virtuoso. Alas, these dreams were not destined to come true: his classes on this instrument began too late, in addition to Sibelius suffered an injury of shoulder, which forced him to completely abandon his ambitious intentions. Nevertheless, the composer never lost interest in the violin and could indulge in improvisations on it for a long time. Approaching the 40-year line, he noted: "There is still part of me, striving to become a violinist, and this part manifests itself in an unusual way." Soon Sibelius began working on his only violin concert, in which he put all his love and close knowledge of the tool.
The concert is famous for its extreme complexity: it pronounces the composer’s desire to identify the unlimited expressive capabilities of violin - those that were not available to him as an executor. The Berlin premiere of the essay was with incredible success, and his music prompted one of the critics to bizarre comparison with “picturesque Scandinavian winter landscapes, on which artists achieve rare, sometimes hypnotic and powerful effects through a sophisticated game of white on white.”
The violin was a favorite tool of Yana Sibelius. In his youth, the composer dreamed of a brilliant career of violin-virtuoso. Alas, these dreams were not destined to come true: his classes on this instrument began too late, in addition to Sibelius suffered an injury of shoulder, which forced him to completely abandon his ambitious intentions. Nevertheless, the composer never lost interest in the violin and could indulge in improvisations on it for a long time. Approaching the 40-year line, he noted: "There is still part of me, striving to become a violinist, and this part manifests itself in an unusual way." Soon Sibelius began working on his only violin concert, in which he put all his love and close knowledge of the tool.
The concert is famous for its extreme complexity: it pronounces the composer’s desire to identify the unlimited expressive capabilities of violin - those that were not available to him as an executor. The Berlin premiere of the essay was with incredible success, and his music prompted one of the critics to bizarre comparison with “picturesque Scandinavian winter landscapes, on which artists achieve rare, sometimes hypnotic and powerful effects through a sophisticated game of white on white.”
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