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Encores & More / Eichhorn, Findeisen

Eichhorn / Finddeisen
Release Date: 03/09/2010 
Label:  Solo Musica   Catalog #: 130   Spars Code: DDD 
Composer:  Myron PoliakinFranz LisztFranz Von VecseyBéla Bartók,   ... 
Performer:  Peer FindeisenFriedemann Eichhorn
Number of Discs: 2 
Recorded in: Stereo 
Length: 1 Hours 54 Mins. 

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Notes and Editorial Reviews



ENCORES & MORE Friedemann Eichhorn (vn); Peer Findeisen (pn) SOLO MUSICA 130 (2 CDs: 114:42) Live: 7/12/1997 (CD 1); 4/26, 6/28, 9/13, and 10/18/1998 (CD 2)


POLIAKIN Le Canari Konzertpolka. LISZT Grand Duo Concertant. VECSEY Valse triste. BARTÓK (arr. Read more Székely) Rumanian Folk Dances. HUBAY Scènes de la Czárda : No. 4, “Hejre Kati.” KODÁLY Adagio. BOULANGER Pizzicato-Walzer. MONTI Czárdás. MUSSORGSKY (arr. Rachmaninoff) Hopak. FALLA Danse espagnole (arr. Kreisler). Suite populaire espagnole (arr. Kochanski). RACHMANINOFF (arr. Heifetz) Daisies. GERSHWIN (arr. Heifetz) It Ain’t Necessarily So. ELGAR La Capricieuse. KREISLER Kleine Wiener Marsch. Syncopation. SARASATE Playera. WIENIAWSKI Kujawiak. RAVEL (arr. Catherine) Pièce en forme d’Habanera. SHCHEDRIN (arr. Zyganov) Im Stile des Albéniz. SHOSTAKOVICH (arr. Zyganov) Preludes: No. 13; No. 17. FIOCCO (arr. Bent & O’Neill) Allegro. ZARZYCKI Romanze. KHACHATURIAN (arr. Heifetz) Sabre Dance


The booklet accompanying Encores and More explains that the two discs constitute two programs from a 12-part concert series, with each introducing a musical region, given in Mannheim’s Reiss-Engelhorn-Museums during 1997 (the first CD’s Hungarian program) and 1998 (the second CD’s compilation of numbers from the rest of the programs). All these works have become violinistic chestnuts of a sort, and their appearance in one release provides a treasure-trove of the familiar and the unfamiliar for violin aficionados.


The first program opens with Myron Poliakin’s Canary Polka , a work that may be better known to American listeners as The Hot Canary , which Florian ZaBach popularized, in Peter Nero’s arrangement, with his zesty performances and on a Decca gold record (paired with Jalousie ) in the 1950s. Those who remember, or still listen to, ZaBach’s reading will hardly be tempted to replace it with the original, even though Friedemann Eichhorn’s avian imitations and general virtuosity obviously charmed his live audience. Liszt’s Grand Duo Concertant on the romance “Le Marin” by Lafont consists, after an introduction, of a set of four variations on Lafont’s melody, concluding with a martial finale. Eichhorn’s tone may occasionally sound brittle, but he plays the work with a zest and enthusiasm (both matched by Peer Findeisen, whose part, as in the running second variation, equals, as might be expected, that of the violin in both difficulty and brilliance). Violinist Chris Nichols and pianist Jonathan Ayerst played the work on Hyperion CDA66743, Fanfare 18:6, and it’s the only one from that program of Liszt’s music for violin and piano that the composer published during his lifetime; though Ayerst played with great beauty of tone, his reading seems pallid, at least in the matter of insinuating enthnicity, and technically less confident than Eichhorn’s. Franz von Vecsey’s Valse triste may not be his most popular short piece (listeners may be more familiar with Le Vent ), but it provides contrast (and perhaps a rest for both listeners and performers after Liszt’s technical blockbuster) in Eichhorn’s program. Eichhorn plays it warmly, exposing its especially rich expressive lode. Bartók’s Rumanian Folk Dances, in Zoltán Székely’s arrangement of the composer’s piano solo, has become a staple in violinists’ repertoire. Eichhorn and Findeisen’s lyricism, subtle and passionate, respectively, in the two slow dances, contrasts with their élan in the last two fast ones; Eichhorn sounds particularly commanding on the G string in the next-to-last dance.


If violinists who focus exclusively on the sonata repertoire feel tempted to scoff at Hubay’s Hejre Kati , it’s still an effective encore when served up with exotic campfire gusto, and that’s the way Eichhorn plays it—with obvious relish and dashing stylistic authenticity. Perhaps the most introspective piece on the program, Kodály’s Adagio, offers a moment of serious reflection, especially in Eichhorn’s heartfelt reading. Georges Boulanger wrote many salon favorites, among them Avant de mourir , popularized in the 1950s by the Platters as My Prayer . Boulanger himself recorded the Pizzicato Waltz ; in Eichhorn and Findeisen’s performance, it effervesces with high spirits. Monti’s Czárdás, another violinist’s warhorse, can sound pretty deadly when played straight, but both Eichhorn and Findeisen, seemingly improvising as they go, make it sob in the slow section and season it with a dash of irresistible paprika-like bravado in the finale.


The selections on the second CD include only five original works, but such transcriptions once served as the building blocks for violin recitals. Nathan Milstein and Aaron Rosand played Mussorgsky’s Hopak (in Rachmaninoff’s arrangement), but neither violinist endowed it with more thumping rhythmic appeal or more electric energy than does Eichhorn. Eichhorn and Findeisen work a similar magic in Kreisler’s arrangement of Falla’s Spanish Dance. Heifetz chose his arrangement of Rachmaninoff’s Daisies for his television appearance in 1971 (as well as his slinky one of Gershwin’s It Ain’t Necessarily So ), and it’s tempting to suggest that he brought them an inimitable panache, but the duo once again make these pieces their own. Eichhorn doesn’t sound anything like Heifetz, but he states a very strong case for both pieces, and his individuality could overpower, at least temporarily, a listener’s reminiscence of the Master. Heifetz also played La Capricieuse (and so, in one of his few recordings, did the prodigiously talented Josif Hassid). It’s a showcase for crisp staccato, and Eichhorn possesses a triphammer one. But he also makes brief pauses that imprint his signature on the reading. Paul Kochánski arranged Falla’s Suite populaire , and, like Bartók’s Rumanian Folk Dances from the first CD, it’s become a repertoire staple. Findeisen brings buoyant ethnic rhythmic piquancy to “El paño moruno,” and Eichhorn a similarly ethnic smoldering intensity to “Nana.” Milstein played “Asturiana” and “Jota” as a set of two, but he didn’t find more haunting suggestiveness in the first nor more exuberant gaiety in the second than do the duo. They’ve included two of Fritz Kreisler’s original pieces—not the most popular two, but characteristic ones nonetheless—and they play them with a charm that made me want to go immediately to my collection of Kreisler’s own recordings of them. Eichhorn adds finger slides to his jaunty reading of Syncopation that enhance its effect and suffuse it with an authentic sepia tint.


I’ve heard Sarasate’s Spanish Dances taken at a tempo so slow as to hobble their forward motion; Campoli did that in some of the dances, but not in the Playera (London 433 938); in any case, forward motion in the duo’s performance imparts to it a touch of grandeur; and they give Wieniawski’s Kujawiak , a piece anthologized in many collections of sheet music for the violin, a similarly dashingly recreative twist. Catherine’s arrangement of Ravel’s Pièce also served as an encore number for many violinists, including Milstein, who hardly played it more evocatively. The less familiar but highly accessible Shchedrin novelty, arranged by Zyganov, also receives a stylish performance, replete with almost over-the-top gestures. Zyganov made arrangements, too, of Shostakovich’s preludes, the 13th and 17th of which sound tangy and relatively elusive, respectively, in the duo’s readings. Bent and O’Neill arranged Fiocco’s sunny Allegro from, I believe, an original for harpsichord; it lives today as a violin piece, not least in Suzuki’s method books and in the occasional bracing performance like this one. Zarzycki may be better known for his Mazurka, one of Oistrakh’s specialties, but the Romanze can effectively showcase a violinist’s tonal warmth and expressive range, as it does here. Khachaturian’s Sabre Dance brings the program to a slashing conclusion.


I couldn’t resist discussing each and every piece in the collection. If the whole series of 12 concerts sounded this good (musically—the recording’s just a bit distant but still revealing), it’s a shame we can’t hear them all—or, perhaps even better, watch a set of DVDs. I’d recommend this set as an absolutely bedrock collection of violin pieces for beginning collectors, for students, and for general listeners just for the repertoire alone. But Eichhorn and Findeisen’s joyously vibrant readings make it much more than a simple anthology; if I had to introduce the violin to anyone not familiar with the instrument or unaware of why I love it as I do, I couldn’t find a better choice with which to make my point, at least initially.


FANFARE: Robert Maxham
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Works on This Recording

1.
Le Canari Konzertpolka, for violin & piano by Myron Poliakin
Performer:  Peer Findeisen (Piano), Friedemann Eichhorn (Violin)
Date of Recording: 12/07/1997 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 3 Minutes 59 Secs. 
2.
Grand Duo concertant on Lafont's "Le Marin", S 128 by Franz Liszt
Performer:  Peer Findeisen (Piano), Friedemann Eichhorn (Violin)
Period: Romantic 
Written: circa 1837/1849; France 
Date of Recording: 12/07/1997 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 3 Minutes 13 Secs. 
3.
Valse Triste, for violin & piano by Franz Von Vecsey
Performer:  Peer Findeisen (Piano), Friedemann Eichhorn (Violin)
Date of Recording: 12/07/1997 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 3 Minutes 26 Secs. 
4.
Romanian Folkdances (6) for Piano, Sz 56 by Béla Bartók
Performer:  Peer Findeisen (Piano), Friedemann Eichhorn (Violin)
Period: 20th Century 
Written: 1915; Budapest, Hungary 
Date of Recording: 12/07/1997 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 5 Minutes 33 Secs. 
5.
Adagio for Violin/Viola/Cello and Piano by Zoltán Kodály
Performer:  Friedemann Eichhorn (Violin), Peer Findeisen (Piano)
Period: 20th Century 
Written: 1905; Hungary 
Date of Recording: 12/07/1997 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 7 Minutes 29 Secs. 
6.
Pizzicato Walzer by Georges Boulanger
Performer:  Friedemann Eichhorn (Violin), Peer Findeisen (Piano)
Date of Recording: 12/07/1997 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 2 Minutes 7 Secs. 
7.
Csárdás by Vittorio Monti
Performer:  Peer Findeisen (Piano), Friedemann Eichhorn (Violin)
Period: Romantic 
Date of Recording: 12/07/1997 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 6 Minutes 9 Secs. 
8.
Sorochintsy fair: Hopak by Modest Mussorgsky
Performer:  Friedemann Eichhorn (Violin), Peer Findeisen (Piano)
Period: Romantic 
Written: Russia 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 2 Minutes 5 Secs. 
9.
La vida breve: Spanish Dance by Manuel de Falla
Performer:  Friedemann Eichhorn (Violin), Peer Findeisen (Piano)
Period: 20th Century 
Written: 1904-1905; Spain 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 3 Minutes 38 Secs. 
10.
Songs (6), Op. 38: no 3, Daisies by Sergei Rachmaninov
Performer:  Friedemann Eichhorn (Violin), Peer Findeisen (Piano)
Period: Romantic 
Written: 1916; Russia 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 2 Minutes 37 Secs. 
11.
La capricieuse, Op. 17 by Sir Edward Elgar
Performer:  Friedemann Eichhorn (Violin), Peer Findeisen (Piano)
Period: Romantic 
Written: 1891; England 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 4 Minutes 10 Secs. 
12.
Canciones populares espańolas (7) by Manuel de Falla
Performer:  Friedemann Eichhorn (Violin), Peer Findeisen (Piano)
Period: 20th Century 
Written: 1914-1915; Spain 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 11 Minutes 54 Secs. 
13.
Apple Blossoms: Miniature Viennese March by Fritz Kreisler
Performer:  Peer Findeisen (Piano), Friedemann Eichhorn (Violin)
Period: Romantic 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 3 Minutes 6 Secs. 
14.
Apple Blossoms: Syncopation by Fritz Kreisler
Performer:  Friedemann Eichhorn (Violin), Peer Findeisen (Piano)
Period: Romantic 
Written: 1919; Austria 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 2 Minutes 18 Secs. 
15.
Spanish Dances (2) for Violin and Piano, Op. 23: no 1, Playera by Pablo de Sarasate
Performer:  Peer Findeisen (Piano), Friedemann Eichhorn (Violin)
Period: Romantic 
Written: 1880 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 4 Minutes 15 Secs. 
16.
Kujawiak for Violin and Piano in C major by Henri Wieniawski
Performer:  Friedemann Eichhorn (Violin), Peer Findeisen (Piano)
Period: Romantic 
Written: 1853; Russia 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 3 Minutes 49 Secs. 
17.
Pičce en forme de Habańera by Maurice Ravel
Performer:  Friedemann Eichhorn (Violin), Peer Findeisen (Piano)
Period: 20th Century 
Written: 1907; France 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 3 Minutes 39 Secs. 
18.
A la Albéniz by Rodion Shchedrin
Performer:  Friedemann Eichhorn (Violin), Peer Findeisen (Piano)
Period: 20th Century 
Written: Russia 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 3 Minutes 59 Secs. 
19.
Preludes (24) for Piano, Op. 34: no 13 in F sharp major, Moderato by Dmitri Shostakovich
Performer:  Peer Findeisen (Piano), Friedemann Eichhorn (Violin)
Period: 20th Century 
Written: 1932-1933; USSR 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 1 Minutes 11 Secs. 
20.
Preludes (24) for Piano, Op. 34: no 17 in A flat major, Largo by Dmitri Shostakovich
Performer:  Friedemann Eichhorn (Violin), Peer Findeisen (Piano)
Period: 20th Century 
Written: 1932-1933; USSR 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 2 Minutes 36 Secs. 
21.
Allegro for Trumpet and Organ by Joseph-Hector Fiocco
Performer:  Peer Findeisen (Piano), Friedemann Eichhorn (Violin)
Period: Baroque 
Written: 18th Century 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 3 Minutes 14 Secs. 
22.
Romance for Violin and Piano in E major, Op. 16 by Aleksander Zarzycki
Performer:  Peer Findeisen (Piano), Friedemann Eichhorn (Violin)
Period: Romantic 
Written: Poland 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 4 Minutes 48 Secs. 
23.
Gayaneh: Sabre Dance by Aram Khachaturian
Performer:  Friedemann Eichhorn (Violin), Peer Findeisen (Piano)
Period: 20th Century 
Written: 1942/1957; USSR 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 2 Minutes 47 Secs. 
24.
Scčnes de la Csárda no 4, Op. 32 "Hejre Kati" by Jenö Hubay
Performer:  Friedemann Eichhorn (Violin), Peer Findeisen (Piano)
Period: Romantic 
Written: circa 1882-1886; Hungary 
Date of Recording: 12/07/1997 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 4 Minutes 5 Secs. 
25.
Porgy and Bess: It Ain't Necessarily So by Jascha Heifetz
Performer:  Peer Findeisen (Piano), Friedemann Eichhorn (Violin)
Period: Post-Romantic 
Written: 1944 
Venue:  Mannheim, Reiss-Engelhorn-Museen, Egell- 
Length: 2 Minutes 45 Secs. 

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