How long is mendelssohn violin concerto

About this Piece. Previous Events. This site uses cookies to offer you the best possible experience. For details on how we use cookies, see our Privacy Policy. Save my name, email, and website in this browser for the next time I comment. Notify me of follow-up comments by email. Notify me of new posts by email. Felix Mendelssohn, as portrayed in an portrait by Wilhelm Hensel. Share Post facebook twitter. Leave a Reply Cancel reply Your email address will not be published.

Loading Comments Contents 1 Performances 1. Performed 4 December , Mandel Hall. From archive. Javascript is required for this feature. Source: Internet Archive. Radio Suisse Romande , Schattdorf: Gagnaux Collection. Recorded March 25, in Geneva, Victoria Hall. Pub lisher. Autograph manuscript, dated 16th September Editor Julius Rietz — Plate M. Editor Scott Greig. Editor Leopold Auer New York: Carl Fischer , Plate Unidentified Publisher , n. New York: G. Ehnes is a musician of consummate imagination and technique coupled with a lack of ego that is completely winning.

Con fuoco indeed! The Andante movements of both works are characterised by a caressing but never cloying approach.

These are exceptionally strong and positive performances, vividly recorded. When it comes to the two main works, Kennedy readily holds his own against all comers.

His view of the Mendelssohn has a positive, masculine quality established at the very start. He may at first seem a little fierce, but fantasy goes with firm control, and the transition into the second subject on a descending arpeggio marked tranquillo is radiantly beautiful, the more affecting by contrast with the power of what has gone before.

With full and well-balanced sound, the piece even seems bigger, more symphonic than usual. In the slow movement Kennedy avoids sentimentality in his simple, songful view.

The Bruch brings another warm and positive performance, consistently sympathetic, with the orchestra once more adding to the power. Take the way he plays the two principal themes in the first movement of the Tchaikovsky.