Just in Between again Mozart - Requiem/Nochmals Mozart zwischendurch

Maurice Ravel - Bolero

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Jean Sibelius - His Music and Life

Jean Sibelius was born on December 8, 1865 in Tawastehus/Finland and passed away September 9, 1957 in Helsinki.

Many of his in-laws and forefathers were well-known doctors, artists and clergy members. Sibelius began to study law at first. But unsatisfied, he changed his mind soon and shifted courses to music.

In 1890, his real composition works started. The first decade had been the most fruitful and successful period of Sibelius' whole career and life.

Finland's history and its wonderful ferry tales and legends had been inexhaustible source for symphonies and incredible orchestral suites such as "En Saga" (1892, revised in 1901), "Karelia" (1893), "Four Legends for Orchestra" (1895) and "Finlandia" (1900). Sibelius took most of his musical ideas from his native land Finland with Finnish longing and melancholy.

One might ask, whether Sibelius' "Violin Concert" was the composer's carefully planed revenge on the deities of this instrument.

In his childhood, Sibelius had first played the piano, but after a few years he switched to the violin. He later confessed: "The violin took me over completely. From then on for the next ten years or so my profoundest wish, the loftiest aspiration of my ambitions, was to become a great violin virtuoso." But Sibelius never quit managed to reach these goals. 

As I mentioned earlier: Sibelius took most of his musical ideas from his native land Finland. In this respect, the music that he wrote in 1906 for Hjalmar Procope's play "Belshazar's Feast" represents a rare excursion for the composer into the exotic and the oriental.

Swan Lake: Waltz, Schwanensee Walzer: Peter I. Tschaikowsky

Niccolo Paganini - His Life and Music

Niccolo Paganini was born in October 27, 1782 in Genoa/Italy and passed away in Nice/France on May 27, 1840. His strict father, a sales manager, expected him a daily eight-hours-training on a violin and mandolin.

In 1798, the father escaped because of the begotten mother. It's difficult to decide, while reading different encyclopedias and a published biography of Paganini, which are reality and legend regarding his life. 

The decline of the tradition of instrumental music in Italy during the 19th century, the first signs of which had appeared late in the previous century, resulted from a number of related and complex events: the dispersion of Italy's leading composers throughout Europe, the gradual and unrelenting decline of Italian orchestras and, most importantly, the evolution and spread of the operatic style. 

Whereas instrumental music on German Romanticism assumed a completely autonomous and dominant position, Italian composers felt more and more captive to the wiles of opera, gradually abandoning  thematic elaboration and a classical sense of form for a dramatic stage style.

The nature of the 19th century concerto is inseparable from the idea of virtuosity. The new audiences and institutions that promoted popular concerts contributed to the transformation of the musician into an actor. It is within the framework that one must consider the violin concertos by Niccolo Paganini, the violin virtuoso who mesmerized such as Franz Liszt, Robert Schumann and Johannes Brahms.

Paganini elevated the dying tradition of improvisation to a transcendental level with his dazzling performances,a and, he gave rise to a star worship comparable to that which vocalists enjoyed, colored, however, by a "demonic" aspect unique to instrumental music. In fact, Paganini's concertos for violin show strong ties to operatic tradition in the form of numerous Rossini-like cadenzas - something in common to most Italian instrumental music of that time.

The "Concerto or Violin in d-major", composed in 1817-18 (an earlier concerto was dated 1815), gives wonderful expression to the musical charm of this epoch. From a convential and rather superficial point of view, it anticipates the 19th century tradition. The central "Adagio espressivo" transforms operatic elements of an aria to a moving and personal romance, modest, yet dignified. 

The "Concerto for Violin No. 4 in d-minor", composed in 1829-30 and first performed in Frankfurt/Main on the 16th April 1830 (and revived by Gallini in Paris in 1954!), displays a pronounced balance between melody and virtuosity.

Pagaini's play, many times, was described as "devil's play". He composed many pieces for the g-string, maybe, because during many performances his violin strings have been cut because of this "devil's play"... .

His sonatas and compositions for guitars have been forgotten since long, even wonderful to be listening. I am glad, I still have some pieces in my music library... .