Alexander Comitas: Violin Concerto Nr. II 'Doktor Faustus', 2nd. Mov. Electronic sounds
Here is a video with better sounds:
https://youtu.be/gJ7zZ76ED8AIt had for a long time been a deep wish of mine to compose a violin concerto according to how Thomas Mann describes Adrian Leverkühn's concerto in his novel 'Doktor Faustus'. Eventually, Steven Hond, a friend of mine and at the time director of a large printing company, enabled me to compose the piece; which I did between 1994 and 2001, whenever I had some 'spare time'..
Unfortunately, the piece hasn't been performed, so far. This electronic sounds rendering doesn't sound very flattering, of course. Listening to my first violin concerto may help imagining what the music posted here will sound like in reality. Here are the links:
Movement I, beginning:
http://www.youtube.com/watch?v=KtbOv78yA6cMovement I, continuation:
http://www.youtube.com/watch?v=6mAMmggLsg0Movement II:
http://www.youtube.com/watch?v=rT0fM80EP4IMovement III:
http://www.youtube.com/watch?v=a4JFJDJ6O7UMovement IV:
http://www.youtube.com/watch?v=XB5Lc8mWdx4 Excerpts from the novel, translated by H.T. Lowe-Porter:
From Chapter XXXIII:
And suddenly (...) Rudi came to speak of the violin concerto (...). "And you would do it wonderfully (...) -- with an unheard-of simple and singable first theme in the main movement that comes in again after the cadenza. That is always the best moment in the classic violin concerto, when after the solo acrobatics the first theme comes in again. But you don't need to do it like that, you don't need to have a cadenza at all, that is just a convention. You can throw them all overboard, even the arrangement of the movements, it doesn't need to have any movements, for my part you can have the allegro molto in the middle, a real 'Devil's trill', and you can juggle with the rhythm, as only you can do, and the adagio can come at the end, as transfiguration -- it couldn't be too unconventional (...)."
From Chapter XXXVI:
He was then, in the spring of 1924, in Vienna, where in the Ehrbar Hall and in the setting of one of the so-called Anbruch evenings Rudi Schwerdtfeger at last and finally played the violin concerto written for him. It was a great success, not least for Rudi himself. I say not least, and mean above all; for a certain concentration of interest on the art of the interpreter is inherent in the intention of the work, which, though the hand of the musician is unmistakable, is not one of Leverkühn's highest and proudest effects, but at least in part has something complimentary and condescending (...).
From Chapter XXXVII:
I know that Leverkühn, before composing the piece, studied very carefully the management of the violin in Bériot, Vieuxtemps, and Wieniawski and then applied his knowledge in a way half-respectful, half caricature and moreover with such a challenge to the t
...
https://www.youtube.com/watch?v=54g7NeVfgRM