Although he knew Beethoven and Schubert, and was directly inspired by Paganini, Léon de Saint-Lubin has almost been entirely forgotten. He was championed 100 years ago by Hungarian violinist Jenö Hubay, who has come back into vogue himself, and now he himself is the subject of a revival attempt by Russian-American violinist Anastasia Khitruk. She has the technical equipment to deal with the thornier passages of the Theme originale et Etude de S. Thalberg, Op. 45a (track 6), but for the most part Saint-Lubin wasn't a ...
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Although he knew Beethoven and Schubert, and was directly inspired by Paganini, Léon de Saint-Lubin has almost been entirely forgotten. He was championed 100 years ago by Hungarian violinist Jenö Hubay, who has come back into vogue himself, and now he himself is the subject of a revival attempt by Russian-American violinist Anastasia Khitruk. She has the technical equipment to deal with the thornier passages of the Theme originale et Etude de S. Thalberg, Op. 45a (track 6), but for the most part Saint-Lubin wasn't a virtuoso in the Paganini mold. Despite his French name, he was born in Italy and spent most of his career in Vienna and Berlin. His music is notable for its stylistic range rather than for any exhaustive exploration of a particular idiom. Khitruk's program is well organized in this regard. It begins with the Grand Duo Concertant, Op. 49, published in 1847 after Schubert's music was beginning to become famous. Lyrical but formally clear, it is a sonata in all but name. Khitruk includes a...
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