Henri Vieuxtemps

Comparé à Niccolò Paganini par son ami Robert Schumann, Henri Vieuxtemps (1820-1881) était un violoniste virtuose bien connu de l'école franco-belge du milieu du XIXe siècle. Aspirant à devenir égalem...

Les Sylphides is a ballet blanc set to the music of Frédéric Chopin (1810-1849) by Russian composer, teacher, and conductor Alexander Glazunov. Described as a “romantic reverie” by dance historian and...

Henri Vieuxtemps composed the fantasia La Sentimentale in readiness for his second tour of Russia in 1839-1840. In terms of its character, the fantasia is marked by bel canto opera. Vieuxtemps himself...

Vieuxtemps' 8th Violin Concerto, dedicated to Eugène Ysaye, could not be completed by him before his death, the autograph sketches have been lost, and only a contemporary transcript of the piano reduc...

The Variations on a Theme from Bellini's 'Norma' were written by Vieuxtemps as a youth for his 1834 concert tour. They offer a thrilling concert piece and can be used in the training of young violinis...

Vieuxtemps wrote these variations when he was barely 18 years old, before a concert tour to Russia. They fulfill the classical ideal of a 'pure, innocent' expression to a particular degree and can be...

Vieuxtemps became acquainted with the Rákóczi March in 1843 during a concert tour to Pest and wrote his own version of it there, which he immediately premiered with great success. The concerts in Pest...

At the age of 15, several years before his well-known violin concertos, Henri Vieuxtemps wrote a so far unpublished violin concerto in E major. It is an ingenious work of his youth that already reveal...

Vieuxtemps' 'Bohémienne' was published in 1864 as No. 3 of the 'Three Album Pieces' Op. 40. At that time, however, he had already revised his work and made a version with orchestral accompaniment from...

La tarentelle op. 22, n° 5 du violoniste virtuose et compositeur belge Henri Vieuxtemps fait partie des œuvres classiques de la littérature pour violon. Elle figure souvent dans les programmes de conc...

Cette œuvre impétueuse et maniaco-dépressive, qui ne renie pas par endroits son grand modèle Beethoven, est tout à fait appropriée pour que l'héritage de musique de chambre du grand violoniste se sent...

L'élan impétueux qui traverse l'œuvre et l'instrumentation brillante entrent en symbiose avec la parfaite mise en forme harmonico-mélodique, qui culmine dans le choral final.