OTAKAR ŠEVČÍK (1852-1934): 7 Czech Dances, Op. 10, LEOPOLD AUER (1845-1930): Rhapsodie hongroise, Op. 5, Rêverie in G, Op. 3, Tarantelle de Concert in G Minor, Op. 2, Rêverie No. 2 in E Flat.

Description: Examples of the great composer–teacher–violinists active at the turn of the 20th century. The common thread in their writing is a vibrant romanticism while the form and harmony pursued in these compositions sought to highlight the violin’s bel canto attributes and draw on the performer’s full range of technical skills. Auer’s limited oeuvre reveals an impressive talent for composition. His Rhapsodie hongroise was dedicated to Sarasate, and its relatively free structure affords soloists the opportunity to display their full technical prowess with both the left hand and the bow in writing clearly inspired by Paganini featuring flying picchettati, rapid demisemiquaver flourishes, G string passages, chromatic scales in thirds, and harmonics. His Reverie in G is couched in intense lyricism, as is the extremely refined Reverie No.2. His Tarantelle de concert, in which double-stopped thirds play a starring role, is bright and virtuosic in both the first and final sections, with a contrasting romantic, expressive central part. Ševčík’s suite of dances, published in 1898, was the final work in his first creative phase, known as his ‘Russian period’ (1875–1892). A native of Bohemia, he was feeling homesick in Russia and wrote these Dances, each displaying virtuosity on a par with Paganini, to cheer himself up. Mauro Tortorelli (violin), Angela Meluso (piano).