New beautiful blog post by guest blogger Ruddy Adam.
Three Masterful Pieces by Magnificent Musicians, Including a European Orchestra, and Our Favorite Violinist, David Garrett
We used to hunt down different versions of this first magnificent piece, and any time we had a chance to hear it live—we took it, that is, those of us who studied with Miss Buck. I suwanee it seems like ten-minutes ago that I was leaving her house after first hearing Albinoni’s Adagio, heading up the hill to my house thinking about this striking piece of music. It was, however, over 60-years ago. Yet that day still stands out in my music memory.
There are songs that music lovers hear, they remember the first time they heard them, they remember where they were when they first heard them, and they never completely get them out of their heads. This piece is one of those, and my fellow students who studied with Miss Buck agree. We all still talk about it and have to listen to it every so often. After all, it stands right up there with Barber’s Adagio.
To make a point, I must say that this version—as advertised—is the most perfect live rendition I’ve ever heard; and perhaps the most perfect one, period. It’s not an easy piece to play, but in this version the timing and movements are far beyond reproach.
Performed by masterful musicians, who are on top of that the most beautiful of Adamics, an outstanding conductor, in a gorgeous classical setting, it is no doubt a breathtaking version of this perfect piece.
You have two ways to enjoy this one. Listen to the music and watch the orchestra (and I mean watch their composure and that of the conductor’s; both are of an amazing aplomb that only truly confident professionals posit), which provides you visual and audio positives for your noodle; or, close your eyes and imagine the Lord and His splendor and listen to the music passively. The rewards of doing those two things will be immediately forthcoming.
Much like Barber’s Adagio, this is a piece that one must listen to every so often for the pleasure it brings. It’s my view that the introduction to this masterpiece is the most hauntingly moving of any I’ve ever heard. (The intro ends right at 3:00.)
“Adagio in G-Minor,” written by Tomaso Giovanni Albinoni (1671-1751), performed by the Copernicus Chamber Orchestra, and conducted by Horst Sohm (8:20)
Here is our favorite violinist playing the same piece. David Garrett is such an extraordinary violinist that he never wanders from the highest tone level, and yet draws that bow over those strings in a fantastic fashion, as if the sun were not going to rise the next morning; and it was the last note he would ever play.
You will quickly notice the difference between the two; the first is a group playing in unison without a lead instrument; the conductor is the lead. The second is a group playing behind a lead instrument, the violin, which is their conductor; they follow him. (Watch the female violinist behind DG continually cut her eyes to him, watching his lead.)
To be the lead piece in front of such an ensemble of classical musicians and stand out the way DG does, that person must be of the highest talent imaginable; and DG surely is. None of us has ever heard him miss a perfect tone in live concerts; that’s pretty amazing.
“Adagio in G-Minor,” David Garrett (4:50)
This one is a real treat. You get David Garrett’s violin artistry playing “November Rain,” a “Guns & Roses” song, in counterpoint with an electric guitar.
“November Rain,” David Garrett (4:00)