Small nws excemption3 Rimsky-Korsakov: Capriccio espagnol

Orchestral Excerpts | Gary Levinson, Violin
Bt movie not in use Excerpt #1: I. Alborada 00h:00m:00s
Bt movie not in use Excerpt #2: III. Alborada 00h:00m:21s
Bt movie not in use Excerpt #3: III. Alborada 00h:00m:38s
Bt movie not in use Excerpt #4: IV. Scena e canto gitano 00h:01m:07s
Bt movie not in use Spanish ethnic character make the solos exciting 00h:01m:50s
Bt movie not in use Exoticism of music in history, especially for Rimsky-Korsakov 00h:02m:11s
Bt movie not in use First Alborada - pay special attention to the articulations and the dynamics 00h:02m:45s
Bt movie not in use Know the key centers: A major is a key of joy and stability 00h:03m:27s
Bt movie not in use Second Alborada is in B-flat major. Character is different, needs more drive 00h:03m:40s
Bt movie not in use Vivo e strepitoso tempo marking. Balance the backbone of ricochet with impetuousness and improvisation 00h:03m:55s
Bt movie not in use Canto gitano: freedom within the cadenza while not ignoring the rhythm 00h:04m:21s
Bt movie not in use Charisma, imagination, and freshness of each new performance 00h:04m:51s

Gary Levinson, Senior Principal Associate Concertmaster of the Dallas Symphony, performs and discusses four of the concertmaster solos from Rimsky-Korsakov's Capriccio espagnol. Some notes from Gary Levinson about these solos: Solo 1: As it is a conversation between violin, clarinet and flute, I like the violin to be the more athletic, flamboyant character. Thus, I look for the ricochet to imitate the sound of the castanets, then immediately get out of the way so the woodwinds don’t have to compete dynamically in their answer. Solo 2: This Alborada, specifically marked strepitoso, starts out like a folk song, not too sophisticated, kind of off the cuff, but quickly morphs into virtuosity. The trick is to make the triplet and quadruplet patterns really pop, which requires flexible and relaxed fingers on the bow arm. 4 before I – those eight/sixteenth note patterns are debatable, do you play the 8ths long or short? My position is the 8th note is not marked with a dot, so this is a great opportunity to channel your inner country fiddling even if the country in question is Russia. Solo 3: Same ideas, remember to set your left hand on the nasty triplets 11 and 15 bars before the end of the movement. Solo 4: After the fanfare, we need to be theatrical but how? I want my open G to really ring against the B flat in the first chord, so the audience doesn’t really know what key we are in. The entire cadenza should feel improvised but never lose the verve and energy of the staccato 16ths. I use a percussive stroke to relate this episode to the earlier movements, yielding only at the end to the more harp like arpeggios culminating in the A harmonic that should invoke the image of a shooting star in the night sky.

Nikolai Andreyevich Rimsky-Korsakov



Recorded Date: 02-04-2018

Gary Levinson

Senior Principal Associate Concertmaster of the Dallas Symphony