David Ludwig's 2015 Violin Concerto

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Rach3
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Joined: Tue Apr 03, 2018 9:17 am

David Ludwig's 2015 Violin Concerto

Post by Rach3 » Tue May 08, 2018 9:43 am

David Ludwig’s wonderful Violin Concerto ( 2015) , available for a complete, free listen here , with a bio of the composer :

http://www.instantencore.com/contributo ... Id=5109213

Bella Hristova, violinist, Vermont Symphony,Jamie Laredo, conductor,3-19-2016 World premiere.

No cd yet.

Of interest to me as was a work jointly commissioned by 8 orchestras, including my local Quad City Symphony Orchestra, whose Nov.,2017 performance I just “accidentally” heard on FM last night for first time. My second hearing at the above link confirms my initial impression.

Hristova and Ludwig are married , the Concerto a tribute to that event .Hristova’s father was Bulgarian composer Yuri Chichkov . She plays a 1665 Ammati violin once owned by Leonard Kratzner. Ludwig’s mother is Elizabeth Serkin, daughter of pianist Rudolf Serkin, so Ludwig’s great-grandfather was violinist Adolph Busch. Ludwig is a professor at Curtis.

Hristova bio : http://www.bellahristova.com/

More about the work from the composer :

http://www.davidludwigmusic.com/violin-concerto/

A brief interview with Ludwig and Hristova :

https://www.youtube.com/watch?v=e9BT7DZt1pQ

jbuck919
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Re: David Ludwig's 2015 Violin Concerto

Post by jbuck919 » Thu May 10, 2018 11:29 am

Did anyone ever hear a piece whose movements are marked (in English) fast--slow--fast? :) Of course the descriptive synonym phenomenon goes back very far. Only presto really means "fast" in Italian and only largo really means "slow."

Anyway, I did enjoy this piece. It does not exactly break new musical ground, but it is also not cloyingly neo-Romantic. A happy middle well done is the kind of newer piece in which I can find pleasure. Also, wherever a composer is on the spectrum between "traditional" and "mdernistic," for some reason I cannot explain and that may be peculiar to my taste, the violin concerto of many composers tends to be one of their most attractive works when much of whatever else they composed is relatively unappealing. I mean, after hearing Sibelius's lovely concerto, doesn't one feel entitled to expect great things from his Seventh Symphony, which instead is frightfully mediocre, or Finlandia, which is just plain bad?

There's nothing remarkable about it. All one has to do is hit the right keys at the right time and the instrument plays itself.
-- Johann Sebastian Bach

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