E. Wolf-Ferrari: Violin Concerto D-Major, op. 26 - orchestra pieces from operas Benjamin Schmid

Cover E. Wolf-Ferrari: Violin Concerto D-Major, op. 26 - orchestra pieces from operas

Album info

Album-Release:
2012

HRA-Release:
04.03.2015

Label: FARAO Classics

Genre: Classical

Subgenre: Concertos

Artist: Benjamin Schmid, Ovideo Filarmonia & Friedrich Haider

Composer: Ermanno Wolf-Ferrari (1876-1948)

Album including Album cover Booklet (PDF)

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  • Violin Concerto in D-Major, Op.26:
  • 1 I. Fantasia 10:47
  • 2 II. Romanza 07:47
  • 3 III. Improvviso 04:44
  • 4 IV. Rondo Finale 13:16
  • Il campiello
  • 5 Preludio 03:53
  • Le donne curiose
  • 6 Ouverture 06:49
  • L´amore medico
  • 7 Ouverture 08:05
  • I quatro rusteghi
  • 8 Intermezzo 03:32
  • Total Runtime 58:53

Info for E. Wolf-Ferrari: Violin Concerto D-Major, op. 26 - orchestra pieces from operas

'… This immortal concerto, it is a blessing to work on its every note. ... My thoughts travel through the centuries to the writings of Buddha […] The first movement of this new concerto seems to shine in the pure light of eternity.” (Guila Bustabo in a letter to Wolf-Ferrari)

Friedrich Haider brings the music of Ermanno Wolf-Ferrari back into the limelight

Amidst all the turmoil of war in the years 1940 to 1943, Ermanno Wolf-Ferrari composed a violin concerto in the festive key of D major. The composer's ability to distance himself artistically from what was happening in the world was often called “anachronistic” and described as 'composing with blinkers on'.

No one knows what the composer was thinking and feeling at the time. An intense encounter with the great violinist Guila Bustabo was what inspired him to write this composition in a melodic, romantic tonal language untouched by the contemporary trends of modernity. The two artists were enchanted by each other and carried on a spiritual friendship, largely by correspondence. The composition is a declaration of love: “For Guila Bustabo in admiration” is written in the score, and her letters to him respond in kind.

The first performance took place in the Munich Tonhalle in 1944. Bustabo was partnered by the Munich Philharmonic under Oswald Kabasta.

Why this inspired violin concerto has since led a marginalised existence, all but completely neglected in everyday concert life, is incomprehensible.

Thanks to Friedrich Haider, the German-Italian Ermanno Wolf-Ferrari has experienced something of a renaissance over the past few years. Ever since the conductor came across a score by this composer in a London second-hand bookshop, he has been fascinated by this music and become an ardent champion of the almost forgotten master.

'Wolf-Ferrari's violin concerto contains simply everything a violinist could desire,' says Benjamin Schmid. When he was given the score by Friedrich Haider, he was immediately captivated by the work. 'With Wolf-Ferrari, you have the feeling that he is singing every second of the time. One brilliant melodic idea follows the other in all four movements of the violin concerto. It has enchantingly beautiful inspirations and an endless wealth of nuance, and is subtle in form and magnificently orchestrated as well.'

'… And the music is performed with persuasive conviction, helped by a recording that brings out the beauty of Wolf-Ferrari's orchestral writing. Benjamin Schmid is a wonderfully eloquent advocate for the Concerto, evoking the intense, romantic aura of the initial bond between composer and violinist. And the short orchestral pieces, given lively, graceful performances, take us back to the happier times when Wolf-Ferrari achieved his first successes.' (Gramophone, Duncan Druce)

'… Benjamin Schmid gives a perfumed account of the concerto, blending at times almost smarmy expressivity with technical acuity in the more virtuosic moments (for example, in the finale). … Haider, who, in his interview (both in the booklet and on the DVD) discusses his decade-long near-obsession with the composer, seems the perfect choice to accompany Schmid, not only biographically but musically and temperamentally as well. … The recorded sound presents the soloist and the orchestra in what almost sounds like high definition, with timbres that blaze or sublimate themselves as the occasion demands; the whole should make a deep impression on listeners. Strongly recommended.' (Fanfare, Robert Maxham)

Benjamin Schmid, violin
Oviedo Filarmonia
Friedrich Haider, conductor

No biography found.

Booklet for E. Wolf-Ferrari: Violin Concerto D-Major, op. 26 - orchestra pieces from operas

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