[TR24][OF] Lina Tur Bonet & Orchestre de Chambre de Toulouse - Felix & Fanny (Felix Mendelssohn, Fanny Mendelssohn) - 2025 (Classical • Concertos)

Об исполнителе (группе)

Lina Tur Bonet
The violinist Lina Tur Bonet received her first musical training from her father, Antonio Tur. She studied with Chumachenco, Pichler and Kurosaki, receiving further impulses from Tibor Varga, Franco Gulli, Shmuel Askenasi, Rainer Kussmaul and Erich Höbarth.
Today, Lina Tur Bonet is a professor at the Conservatorio Superior de Zaragoza.
She has been a guest soloist at numerous festivals (including Styriarte, Herne, Granada, Lufthansa London, Aranjuez, Musika-Música Bilbao, San Sebastián, Auditorio Nacional Madrid, Palau de Valencia and Munich Residence Week).
She has especially dedicated herself to the music of Johann Sebastian Bach, whose passions and cantatas she has already performed at the Concertgebouw Amsterdam and in major Latin American theatres.
As a chamber musician, she has performed at the Vienna Konzerthaus and Musikverein, the Potsdam Music Festival, the Ludwigsburg Castle Festival, at the Philharmonie in Saint Petersburg and the Palau de Barcelona.
She has been the leader of the Clemencic Consort, Il Complesso Barocco, Concerto Köln, the Bach Consort Wien and the Munich Hofkapelle.
She played regularly with ensembles including Les Musiciens du Louvre, Les Arts Florissants, Mahler Chamber Orchestra and the Orchestra Mozart Bologna under the direction of Claudio Abbado, Daniel Harding and John Eliot Gardiner, amongst others. She has worked with Menahem Pressler, Patrick Demenga, Thomas Brandis, members of the Casals Quartet, Christoph Hammer, Hiro Kurosaki and Kenneth Weiss.
Lina Tur Bonet is currently deeply engaged in two worlds which even today seem separate: the romantic-contemporary violin and the baroque violin.
Thus she has pursued a versatile, dynamic career chiefly distinguished by its variety. She is also interested in interdisciplinar y artistic forms and the study of musical symbology.

Об альбоме (сборнике)

This recording highlights two significant works, one by the composer Fanny Mendelssohn Hensel, with her String Quartet in E-flat major, H. 277, and an early piece by Felix Mendelssohn, his Violin Concerto in D minor, MWV O 3, here presented as we know it today, as well as in a previously unpublished version. This second version is presented here as a world premiere, inviting us to rediscover this composer’s precocious talent. As for Fanny’s String Quartet, it is a work of profound expression and remarkable invention, testifying to a strong musical personality. ...
The mental image conjured up here is precisely that which always strikes me when I am performing Felix Mendelsohn’s first violin concerto. His precociousness continues to amaze me, and all the more so when, in preparing for this recording, I came across the first, unpublished, version of the work. Its unexpectedness was surprising, and it appears to me to be a small gem more than worthy of being shared. When comparing the two versions, it is fascinating to recognize the capacity for and the speed of learning – in the space of some months – which was achieved by the twelve-year-old composer; his ability to figure out what his teacher (possibly) might be advising him, so that the passages might end up being more idiomatic for the violin in the second, well-known version; or to see how he developed his ideas in the second movement, turning them into something much more elaborate and mature, which almost doubles the length of the first version in the process.
Felix dedicated this concerto to his violin teacher, Eduard Rietz, who would also play as a concertmaster in the St Matthew Passion revival carried out in 1829 by Mendelssohn sœur et frère. This love for the music of Johann Sebastian Bach can also be observed not only by the use of the key of D minor (the young Mendelssohn adored the Harpsichord Concerto, BWV 1052), but also by starting the violin concerto unisono, its accented rhythms and the characteristic Bachian passage of semiquavers (particularly in the first version of the violin concerto with double stopping, as in the version for violin BWV 1052). In addition, in the brilliant third movement, Rietz was able to make an impact in the style of a Spohr or a Rode. Felix was, in this way, demonstrating – together with the lyricism of the slow movement – that he was already a composer of his time. ...
“Yet you heard Mozart when he was seven years old in Frankfurt?” asked Zelter. “Yes,” replied Goethe, “but what your pupil is already accomplishing, bears the same relation to the Mozart of that time that the cultivated conversation of an adult has with the burbling of a child.” (Weimar, November 6, 1821)