Classical Music for Aficionados

Beethoven
VIOLIN CONCERTO IN D MAJOR
Anne-Sophie Mutter (violin)
New York Philharmonic  --  Kurt Masur
DG SACD    Recorded 2002

The Notes Consist primarily of a conversation between Joachim Kaiser and Sophie Mutter.  ASM: "It was in 1978, a year after my debut with Hebert von Karajan.  He thought I should study the Beethoven next, which I did for half a year with my teacher Aida Stucki.  Then, as agreed, I traveled to Lucerne to play it for Karajan.  But a little way into the piece he said to me:"Go home and come back next year."   (This is so 'German' of the Big Guy.)
"Beethoven certainly never intended with this concerto to oblige violinists' cravings for technical antics"

Beethoven: Violin Concerto In D, Op.61 - 1. Allegro ma non troppo
https://www.youtube.com/watch?v=f0Wc1cIJBRE

Excellent booklet with wonderful insights into ASM, HvK and Beethoven.  Thick booklet with glossy color photos and LARGE type. :)   Includes a Complete Roster of the NYP.

Cheers

Questions to The Frogman:

At the end of the roster list of the NY Philharmonic  there is this:

"The New York Philharmonic uses the revolving seating method for section string players who are listed alphabetically in the roster."

What does this mean?

Thanks

Cheers

Each string section (1rst violins, 2nd violins, violas, cellos and basses) has a “Principal” (“Concertmaster” in the case of the 1rst violins), an “Associate Principal”, and in some orchestras an “Assistant Principal” in addition to the “Principal” and the “Associate Principal”. In some orchestras a player auditions for and would hold a specific chair in a specific stand (usually two players) in the section and that is where they will always sit.

A very smart alternative method is the revolving seating method. In this method, with the exception of the “Principal” players, who will always sit in the first stand of the section, the other section players will rotate and take turns sitting in the various stands. The rotation can take place for different concerts or for different works within a concert. This allows each player to have an opportunity to sit in closer proximity to the section’s principal (and conductor) and avoids any one player having to sit in the last stand of the section which is sometimes comprised of a single player. There are very real musical advantages to this method.

@frogman 
Thanks for the info.   I am beginning to appreciate the structure and hierarchy of the orchestra.  I had no idea, except that I knew about the Principles and the violin Concertmaster.

Cheers

Beethoven
EROICA - VARIATIONEN
Bruno Leonardo Gelber (piano)
Orfeo Label     Recorded 1984

In the notes, they talk about and use the word 'improvisations' a lot.  Maybe this should have been posted on JFA.  Seems like here, the improvisations are done by the composer, not the player.

15 Variations & Fugue in E-Flat Major, Op. 35 "Eroica"
https://www.youtube.com/watch?v=dMt8IgOMjMc

Another one from the dawn of the CD age.  Made in West Germany   DM35.80

Cheers