Violin Mastery - Eddy Brown - Part 4
PROGRAMS
“In making up a recital program I try to arrange it so that the first half, approximately, may appeal to the more specifically musical part of my audience, and to the critics. In the second half I endeavor to remember the general public; at the same time being careful to include nothing which is not really musical. This (Mr. Brown found one of his recent programs on his desk and handed it to me) represents a logical compromise between the strictly artistic and the more general taste:”
PROGRAM
I. Beethoven . . . . . . . . . . . . . . . . . . Sonata Op. 47 (dedicated to Kreutzer)
II. Bruch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Concerto (G minor)
III. (a) Beethoven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Romance (in G major)
(b) Beethoven-Auer . . . . . . . . . . . . . . . . . . . . Chorus of the Dervishes
(c) Brown. . . . . . . . . . . . . . . . . . . . . . . . . Rondino (on a Cramer theme)
(d) Arbos. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tango
IV. (a) Kreisler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . La Gitana
(Arabo-Spanish Gipsy Dance of the 18th Century)
(b) Cui. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Orientale
(c) Bazzini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . La Ronde des Lutins
“As you see there are two extended serious works, followed by two smaller ‘groups’ of pieces. And these have also been chosen with a view to contrast. The finale of the Bruch concerto is an allegro energico: I follow it with a Beethoven Romance, a slow movement. The second group begins with a taking Kreisler novelty, which is succeeded by another slow number; but one very effective in its working-up; and I end my program with a brilliant virtuoso number.
Violin Mastery
Talks with Master Violinists and Teachers
by Frederick H. Martens
Published 1919
