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The A Z of String Players surveys the lives, careers and recordings
of over 300 string players from the past and present. Many great
string players who have made recordings are included, from Accardo
to Zukerman. The text covers artists from the earliest recording
processes to contemporary, cutting-edge technology. In this clear
and straight-forward publication, the artists are listed
alphabetically, with a summary of their career, notable recordings,
biography and critical appraisal of their recorded legacy. In
addition, four compact discs present a selection of recordings from
69 artists. This package will appeal to enthusiast and scholar
alike as a readable, informed and fascinating work of reference.
Simon Rattle conducts violinist Leonidas Kavakos and the Berliner
Philharmoniker in their annual Europa Konzert, recorded live at the
Hungarian State Opera in Budapest.
Pierre Boulez conducts the Vienna Philharmonic Orchestra and
pianist Daniel Barenboim in this opening concert from the Salzburg
Festival of 2008. Featured works include Ravel's 'Valses nobles et
sentimentales', Bartok's 'Concerto for Piano and Orchestra No.1'
and Stravinsky's 'Firebird Suite'.
n several of his writings on folk music Bela Bart6k recalls an
incident I that happened to him in 1904 during a visit to a small
village in Tran 1 syl vania. Quite by chance he heard there an
eighteen-year-old Hun garian peasant girl singing Hungarian folk
songs whose construction was 2 significantly different from the
songs he had known until then. This experience appealed to his
imagination far deeper than chance oc currences usually do. It
sparked in him a creative fire that was there after to impart to
his music certain characteristics that are recognizable today as
indigenous to the Bart6kian style of composition. The inspirational
value of the incident was rekindled by return trips to
Transylvania. During these trips he was not merely listening. He
began notating, melodies, building them into a coordinated
collection. Soon Bart6k's itinerary took him into villages
populated in checkered proximity by both Hungarians and Rumanians,
thence into little communities where the population was exclusively
Rumanian. There he discovered that their songs were much less, if
at all, influenced by the urban civilization of Western Europe than
those he had collected in Hungarian villages. In an interview he
gave to a Transylvanian newspaper in 1922, Bart6k described the
difference between the available Hungarian and Rumanian songs."
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