Posts Tagged ‘Sinfóníusveit áhugamanna’


Pablo Sarasate was born 10 March 1844 in Pamplona, Navarre, the son of an artillery bandmaster. He began studying the violin with his father at the age of five and later took lessons from a local teacher. His musical talent became evident early on and he appeared in his first public concert in A Coruña at the age of eight.
His performance was well-received, and caught the attention of a wealthy patron who provided the funding for Sarasate to study under Manuel Rodríguez Saez in Madrid, where he gained the favor of Queen Isabella II. Later, as his abilities developed, he was sent to study under Jean-Delphin Alard at the Paris Conservatoire at the age of twelve.
There, at seventeen, Sarasate entered a competition for the Premier Prix and won his first prize, the Conservatoire’s highest honour. (There was not another Spanish violinist to achieve this until Manuel Quiroga did so in 1911; Quiroga was frequently compared to Sarasate throughout his career.)
Sarasate, who had been publicly performing since childhood, made his Paris debut as a concert violinist in 1860, and played in London the following year. Over the course of his career, he toured many parts of the world, performing in Europe, North America, and South America. His artistic pre-eminence was due principally to the purity of his tone, which was free from any tendency towards the sentimental or rhapsodic, and to that impressive facility of execution that made him a virtuoso. In his early career, Sarasate performed mainly opera fantasies, most notably the Carmen Fantasy, and various other pieces that he had composed. The popularity of Sarasate’s Spanish flavour in his compositions is reflected in the work of his contemporaries. For example, the influences of Spanish music can be heard in such notable works as Édouard Lalo’s Symphonie Espagnole which was dedicated to Sarasate; Georges Bizet’s Carmen; and Camille Saint-Saëns’ Introduction and Rondo Capriccioso, written expressly for Sarasate and dedicated to him.
Of Sarasate’s idiomatic writing for his instrument, the playwright and music critic George Bernard Shaw once declared that though there were many composers of music for the violin, there were but few composers of violin music. Of Sarasate’s talents as performer and composer, Shaw said that he „left criticism gasping miles behind him“. Sarasate’s own compositions are mainly show-pieces designed to demonstrate his exemplary technique. Perhaps the best known of his works is Zigeunerweisen (1878), a work for violin and orchestra. Another piece, the Carmen Fantasy (1883), also for violin and orchestra, makes use of themes from Georges Bizet’s opera Carmen. Probably his most performed encores are his two books of Spanish dances, brief pieces designed to please the listener’s ear and show off the performer’s talent. He also made arrangements of a number of other composers’ work for violin, and composed sets of variations on „potpourris“ drawn from operas familiar to his audiences, such as his Fantasia on La forza del destino (his Opus 1), his „Souvenirs of Faust“, or his variations on themes from Die Zauberflöte. In 1904 he made a small number of recordings. In all his travels Sarasate returned to Pamplona each year for the San Fermín festival.
Sarasate died in Biarritz, France, on 20 September 1908, from chronic bronchitis. He bequeathed his violin, made by Antonio Stradivari in 1724, to the Musée de la Musique. The violin now bears his name as the Sarasate Stradivarius in his memory. His second Stradivari violin, the Boissier of 1713, is now owned by Real Conservatorio Superior de Música, Madrid. Among his violin pupils was Alfred De Sève. The Pablo Sarasate International Violin Competition is held in Pamplona. (Wikipedia)
Following recording Zigeunerweisen is performed by Chrissie Telma Guðmundsdóttir (violin) and The Iceland Amateur Symphony Orchestra directed by Oliver Kentish.
This was recorded at Seltjarnarnes Church 16th of October 2016.
Thanks to Oliver and Chrissie who gave me a permission to publish this recording on the web.

(320Mbps / 24,4Mb)

Recorder: Sound devices 788
Mics: Neumann KM184 (NOS) & Line Audio OM1 (AB40) in 3m above orchestra. Sennheiser MKH20 for bass and Line Audio CM3 on soloist (Chrissie).
Location: 64.1485379,-22.0052351

More information:
Chrissie Telma Guðmundsdóttir
Oliver Kentish
The Iceland Amateur Symphony Orchestra

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Nothing could be further from the heady drama of his opera „Faust“ than Gounod‘s cheerful, melodious „Little Symphony for Wind“. Its infectious nonchalance and easy gracefulness has made it a favorite with amateur as well as professional wind players. Though it was written when the composer was 70 years old and has the formal structure of a classical symphony, ever one of its four movements breathes youthful gaiety and Gallic charm. The second movement, Adagio, is a lyrical, finely sustained melody, mainly for flute. The final Scherzo, with its bright, staccato, syncopated theme, is remarkably „modern“ for its time, and shows that Gounod was keeping a weather eye on his younger contemporaries*.
This recording was made the 23rd of November 2013 with members of Iceland Amateur Symphony Orchestra in Seltjarnarnes church. Keep in mind that the orchestra comprises mostly those who earn their living in occupations other than music so this is a perfect performance.
This is a binaural recording with Sennheiser MKH8020 mounted into foam dummy head. The sound is rather harsh in some mid range frequencies and the reverb may have been better and lasted longer. This might be repaired in post, but I am not interested in such thing. Good recording is more important. I think this poor sound is mainly because the design of the hall (church). Also is the microphone placement difficult to change during the concert. But anyway this stereo recording is a nice example of binaural recording. Normally, headphone is required while listening, but in this recording the instruments in the performance are dancing nicely between the channels so it is nice to listen in both headphones and speakers.

Charles Gounod – Petite Symphonie

Hér er upptaka frá tónleikum Sinfóníusveitar áhugamanna í Seltjarnarneskirkju frá því 23. nóvember 2013. Er þetta lítil sinfónía eftir Charles Gounod sem hann samdi sjötugur að aldri árið 1885 fyrir níu blásturshljóðfæri.. Var það félagi hans og flautuleikarinn Poul Taffanel sem pantaði verkið sem sver sig í ætt við blásaraserenöður Mozarts.
Upptakan er gerð með svoköllaðu “binaural tækni” sem gengur út á að staðsetja hljóðnema í kúlu eða bolta sem líkist mannshöfði. Þannig má oft ná mjög skemmtilegum umhverfishljóðritunum sem oftar en ekki er best að hlusta á í góðum heyrnartólum.
Flutingur blásara á tónverkinu er afbragðs góður, en upptakan hefði alveg mátt vera betri. Miðjan er yfirmótuð á einhverjum tíðnum sem gerir hljóminn svolítið harðan á köflum. Gera má ráð fyrir að það reiknist að stærstum hluta til á eigin tíðni salarins. Þá hefði mátt vera meira eftirhljómur frá salnum. Þarna skiptir bæði salurinn og staðsetning hljóðnemanna miklu máli. En því miður er ekki hægt að finna bestu staðsetninguna á meðan á tónleikum stendur. Það getur því oftar en ekki varið hrein heppni að ná góðum upptökum með einfaldri steriotækni.
Hljóðfæraleikarar gáfu leyfi fyrir vefvæðingu hljóðritsins.

  Download mp3 file  (256kbps / 37Mb)

Recorder: Sound Devices 788
Mics: Sennheiser MKH8020 (Binaural)

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