Concerto No 5 In D Major Seitz

l>SEITZ, F.: Violin Concertos, Vol. 1 - Nos. 1-5 (Hyejin Chung, Warren Lee)
About this Recording 8.573801 - SEITZ, F.: Violin Concertos, Vol. 1 - Nos. 1-5 (Hyejin Chung, Warren Lee)

Friedaffluent Seitz (1848–1918 Concertos for Violin and also Piano (Schüler-Konzerte) Nos. 1–5

Friedrich Seitz was born on 12 June 1848 in Günthersleben near Gotha, Thuringia, Germany type of. In 1848 this area of Germany type of was component of the Duchy of Saxe Coburg-Gotha. The son of a farmer, Seitz attfinished institution in Günthersleben and in 1865 joined the Gothaische infanattempt regiment as a volunteer. He witnessed organization in the 1866 project typically designated the Austro-Prussian War (or Germale War). After his armed forces service, Seitz settled in Sondershausen (additionally in Thuringia), and took violin lessons from Karl Wilhelm Uhlwealthy, a previous Magdeburg concertunderstand. In 1869, he became a member of the court orchestra under Max Bruch and also aobtain served briefly in the German army. In 1874, he married Uhlrich’s daughter and began studies with Johann Christoph Lauterbach. Seitz moved to Magdeburg in 1876 and became the concertgrasp of the Stadttheater and also Konzertorchester. He also started the initially Magdeburg music institution, perdeveloping routinely as soloist and also chamber musician. In 1884, he was appointed conductor of the court orchestra in Dessau, and beginning in 1888 he offered as the concertunderstand of the Bayreuth Festspiele. As soloist, he went to Germany, the Netherlands and also London. He reexhausted in 1908 bereason of a nervous problem, devoting the remainder of his life to composition and also violin instruction. The Battle Each Other of Anhalt and also the Prince of Sondershausen bestowed on Seitz an Order for service to art and also scientific research. Seitz died on 22 May 1918.

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Seitz is best well-known for his Schüler-Konzerte (‘Student Concertos’), but he composed many other works, principally for violin and also piano. His Op. 1, unnormally, is a set of three duets for soprano and alto. His violin and piano functions include Konzert-Fantasie, Pusztaklänge, Ungarische Rhapsodie, Rondo-Capriccio, Ferienreise (consisting of six pieces in initially position), Zwei Mazurkas, and several other suites in first position. Some of his student works offer orchestral accompaniment; among the student concertos only Op. 25 (typically designated as No. 7) is listed in old publishers’ descriptions as having actually available both orchestral and also chamber orchestra versions. Seitz transcribed some of his functions for cello or viola and also piano, and also created 3 trios in which the violin component is completely in initially position. He transcribed Chopin’s Grande Valse brillante, Op. 18, for violin and also piano, arranged numerous sonatinas by Clementi and also Beethcooktop for violin and also piano, edited a number of works by Henri Vieuxtemps, and also arranged arias or various other works from composers such as Léon Jessel, Georg Jarno and also Jean Gilbert.

The numbering of Seitz’s student concertos is difficult since publishers and also reference works offered miscellaneous numbering schemes. Seitz composed at least eight student concertos and also probably nine, possibly also ten. At leastern one (Op. 25) is periodically designated Konzert in einem Satz zum Studium und Konzertgebrauch as well as being numbered as among the Schüler-Konzerte in most listings. The five pre-1901 Schüler-Konzerte (those on this recording) are listed in Friedwealthy Hofmeister’s Monatsberichte, or Musikalisch-literarischer Monatsbericht über neue Musikalien, musikalische Schriften und Abbildungen (‘Musical Literature Monthly for New Music, Musical Writings and Illustrations’): No. 1 in D significant, Op. 7 (though no opus number appears in the Monatsberichte), 1891; No. 2 in G major, Op. 13, 1893; No. 3 in G minor, Op. 12, 1893; No. 4 in D major, Op. 15, 1895; and also No. 5 in D significant, Op. 22, 1900. Besides these five, tbelow are indications in publimelted lists of four, possibly 5, more. The Handbuch der musikalischen Literatur (1904–1908) lists 2 added student concertos by Seitz: No. 6 in G major, Op. 31 and also No. 7 in D minor, Op. 32. Seitz written the aforementioned Op. 25 in 1902 (usually designated as No. 7, though supposedly it was actually No. 6). Finally, tbelow is a document of 2 even more, commonly designated No. 6 and No. 8: these are Op. 50 in D significant and also Op. 51 in A major, supposedly published at the finish of Seitz’s life or even posthumously. One source lists a tenth concerto (noted as a duplicate No. 8), Op. 38 in G significant.

Some publisher lists decomponent from the numbering of the Monatsberichte as provided in the 1890s, but as it is the earliest document of the five initial Schüler-Konzerte, the numbering in the Monatsberichte would seem to be definitive.

As student concertos, the Schüler-Konzerte are designed as an arrival to violin approach. Seitz’s genius is to create student functions that are uniformly tuneful and interesting; even the first-position-just concertos attribute brief cadenzas, various bowings, memorable melodies, and also use of double stops. Violin students the human being over deserve to attest to the enduring value of these functions. Several motions were integrated into the Suzuki violin strategy.

The concertos deserve to be separated right into 2 kinds: those entirely in initially place (the easiest place and the first that a budding violinist learns), and also those making use of greater, more difficult, positions. For the many part, they execute not stray past the 3rd place, and indeed the Monatsberichte entries specify that Opp. 7, 12 and also 15 are either ‘3. Lage’ (‘3rd position’) or ‘1–3. Lage’ (‘initially to third position’). Opp. 13 and also 22 are written entirely in the first place. Heinrichshofen’s Verlag lists Op. 7 as first to seventh place, Opp. 12 and also 15 as first to 3rd position, Opp. 13 and also 22 as first position.

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While mainly adhering to the usual three-movement concerto framework, the Schüler-Konzert are typically designed to be played without a break in between activities. The first movements typically consist of a bold opening layout (the violin always entering after a brief piano introduction) and a more lyrical second subject; this is often followed by passageoccupational leading directly to a brief sluggish motion in ABA form. The finales are rondos or rapid lively movements via subsidiary alternate themes, frequently ending in triumphant passagework.

Schüler-Konzert No. 1 in D significant, Op. 7 (1891) opens up Allegro moderato in 4/4 time, beginning via six bars in the piano prior to the fortissimo entrance of the violin. The first movement functions a brief cadenza, double stops, harmonics, and a brief foray into seventh place. The complying with graceful Allegretto (which may be taken into consideration either a extension of the opening motion, as on this recording, or a sepaprice movement) in 6/8 starts quietly in F significant, progressively coming to be more connected before providing way to a twenty-bar piano bridge to the tender Adagio. The finale in 6/8 functions a reminiscence of the previously F major Allegretto, and an extensive trill as the piano intones the primary design template. The violinist’s essential technological tools includes harmonics, pizzicato in the left hand, double-stops and also quick staccato runs.

Schüler-Konzert No. 2 in G major, Op. 13 (1893) is maybe the ideal known of the collection. Enticount in first place, the concerto begins Allegro non troppo with a ten-bar piano arrival before the bold forte entrance of the violin. The activity contains a cadenza, double-stopping, trills, and staccato bowing. The Adagio in 6/8 sings a commonly songful melody briefly interrupted by an agitato area. The Allegretto moderato finale remains in 6/8 and attributes a lively melody and a brillante section of staccato semiquavers.

Schüler-Konzert No. 3 in G minor, Op. 12 (1893) bears a dedication to Seitz’s daughter Frieda. After the usual piano advent, the violin enters mezzo forte on the open up G string. Among the obstacles of the Allegro risoluto opening motion are extfinished triplet passperiods played staccato via some double-protecting against. The 3/8 Adagio starts ssuggest, establishes to energico and con passione sections prior to the pianissimo return of the opening melody. The 2/4 finale starts with an Allegro vivace introduction in the piano before the main Allegro moderato finale scampers with staccato and accented bowing, a short cadenza, double-preventing, and also a triumphant fortissimo conclusion.

Schüler-Konzert No. 4 in D major, Op. 15 (1895) opens through an Allegro moderato movement in 4/4, the violin entering risoluto. The movement’s difficulties incorporate doublestops, staccato and accented bowing, harmonics and also trilling. The beautiful 3/4 Andante con moto (played con sentimento) is followed by a 6/8 Allegretto that features quick alters from pizzicato (plucked) to arco (bow), harmonics, staccato, and also double-stops.

Schüler-Konzert No. 5 in D significant, Op. 22 (1900), choose Op. 13, is in initially place. Marked Allegro moderato, the violin enters risoluto with two accented minims; the movement attributes staccato bowing and also double-preventing. An Andante cantabile is adhered to by an Allegretto ronexecute, which attributes double-quit triplets.