Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.When Gidon Kremer's interpretation of Beethoven's Violin Concerto, recorded with the Academy of St Martin in the Fields under Neville Marriner, was originally issued in the early 1980s, the cadenzas written for him by his friend Alfred Schnittke caused a sensation – and rightly so, more than justifying Schnittke's subsidiary sleeve credit. Even decades later, their flinty, abrasive manner causes a considerable shock towards the end of the first movement Allegro, a collision of styles and eras that takes in subsequent developments by Berg, Bartok and Shostakovich, as well as Beethoven himself.
But such is Kremer's virtuosic command of both instrument and material that the clash does not destroy the piece, with the second movement Larghetto warmly bringing it back on course.
DOWNLOAD THIS Violin Concerto
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments