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Tchaikovsky’s Violin Concerto was born of the composer’s friendship with Iosif Kotek
Tchaikovsky's last completed symphony, the Violin Concerto, was written as a thank you to his friend Iosif Kotek for his help in finishing the score of the Violin Concerto. Kotek, a violinist, conductor and teacher, was Tchaikovsky's student and protégé when he lived in St. Petersburg. Kotek had been playing with the orchestra in Berlin since 1878, and apparently suggested the Violin Concerto to Tchaikovsky. It was completed in Clarens, Switzerland, in 1890, after Tchaikovsky had become seriously ill. One version of the first movement was eventually published and can still be found on the Ondine label.
Celloist Maureen Reardon is a professor at the Curtis Institute of Music in Philadelphia, PA. She lives in Philadelphia and teaches at the Curtis Institute of Music and in the Master-Cello Program at Muhlenberg College in Allentown, PA. Celloist Maureen Reardon is the author of the memoir A Life in the Music (University of Illinois Press, 2014) and the Cello Concerto The Sun Behind the Rain (W.W. Norton, 2012). She has performed the double concerto with violinist Donald Weilerstein, piano soloist Ernst Bacon, and the San Francisco Symphony. She is a frequent guest soloist with the Philadelphia Orchestra, the Wisconsin Symphony Orchestra, and the Buffalo Philharmonic.
The concerto was premiered in Moscow on February 14, 1892 by the violinist Joseph Joachim with the composer conducting. The first performance was not a success, with the audience booing the first movement; the second was better received. In the same week, Tchaikovsky's Piano Concerto in B minor, D. 869, was premiered in the same city under Joachim's baton.
December 19, 2006 at 09:54 AM · I think you will find that, as you continue to refine your list, it will evolve into a list of repertoire which represents the vast majority of the pieces in the violin repertoire.
December 19, 2006 at 09:57 AM · I would like to clarify that while these are all pieces that I know, they are not all pieces that I know well. I know the basics of most of them, but I have not studied them in depth. For example, I can play the slow movement of the Barber Concerto and on a good day I can play the fast movement, but I cannot perform either piece in the concerto form. I have only touched upon the first movement of Beethoven, and while I am sure that if I study it for the next 5 years, I will be able to perform it, it will not be a work that I know. This, I think, is the point that many of your students are trying to make. I can not play John Ireland or Rossini because I have no idea what they are doing, and certainly cannot play them well, regardless of how much time I spend studying them.
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