Jenö Hubay: Violin Concerto No.1, 2, 3, 4번

Jenö Hubay

(1858-1937), also known by his German name Eugen Huber, was a Hungarian violinist, composer and music teacher. His original name was Eugen Huber. He was born into a German family of musicians in Pest, Hungary., and adopted the Hungarian version of his name, Jenő Hubay, in his twenties, while living in the French-speaking world.

Violin Concerto No..1 in A minor, Op. 21 'Concerto dramatique'

I. Allegro appassionato 0:00
II. Adagio ma non tanto 11:30
III. Allegro con brio 22:22

Chloë Hanslip, violin
Bournemouth Symphony Orchestra
Andrew Mogrelia, conductor

Concerto for violin and orchestra No 2 in E major, op 90  

[Photo]In the white Music Room of the Hubay Mansion together with his students c. 1935. Left to right: Franz Bruckbauer, Margit Bardocz, Sandor Fejer, Jeno Hubay, Lorand Fenyves, Ede Zathureczky, Gabriella Lengyel, Robert Virovai. Playing the violin: Wanda Luzzato. At the piano: Edith Farnadi.

1. Allegro con fuoco
2. Larghetto
3. Allegro giocoso

Vilmos Szabadi, violin
North Hungaroan Symhony Orchestra, Miskolc

Violin Concerto No.3, in G Minor, Op.99

László Kovács, conductor

Aaron Rosand (violin), Orchestra of Radio Luxembourg, Louis de Froment
1.Introduction quasi fantasia. Moderato… + Scherzo. Presto (without break) – 00:00
2.Adagio. Moderato – 09:31
3.Finale. Allegro con fuoco – 18:43

Concerto for violin and orchestra No.4 All'antica (in the Old Style) in A minor, op 101

[A photo of Jascha #Heifetz together with the Hungarian violinist and teacher Jenó Hubay, Budapest 1933]
1. Preludio: Largo
2. Corrente e musette: Presto
3. Larghetto, adagio
4. Finale e capriccio: Allegro

Vilmos Szabadi, violin
North Hungaroan Symhony Orchestra, Miskolc
László Kovács, conductor

Hubay was born in Budapest. His first teacher was his father, Kapellmeister of the Hungarian National Opera and a professor of violin at the Budapest Conservatory, who allowed his youngster to play a Viotti concerto in public at the age of eleven but then wisely kept him from premature exploitation, sending him at thirteen to Berlin for five years of study with Joachim. By the time Hubay was twenty he had made a successful debut in Paris, where he became a close friend of Vieuxtemps. (after Vieuxtemps' death in 1881, Hubay edited and completed several of his mentor's unpublished works). In 1882 he went to Brussels as principal professor at the Conservatoire, and four years later he returned to Budapest permanently, as successor to his father at that city's conservatory. Like Joachim before him, Hubay was the recipient of many honors, including knighthood and a doctorate, and he also found a warm admirer in Brahms. A more significant difference was that Hubay's own catalogue of compositions was much larger than Joachim's and included works on a more ambitious scale than Joachim had attempted.

While the present recording of the third of Hubay's four violin concertos is apparently the first complete one, there once was an American Columbian 78-rpm version by Mischa Elman of the second and third movements (the latter mercilessly cut) only. The work was first published in 1907 (with piano accompaniment only) and 1908 (in full orchestral score), dedicated to a pupil who later achieved considerable fame on his own, Franz de Vecsey.

The work begins with a boldly energetic, darkly colored Introduction quasi Fantasia, Moderato, common time, that gives the soloist ample opportunity to display technical expertise and declamatory eloquence as well as more frankly lyrical expressiveness. Its concluding tutti leads without pause into the high-spirited Scherzo, Presto, ¾. But the heart of the work is the Adagio movement, Moderato, common time, again darkly colored, but now far less a vehicle of virtuosity than a medium of fervent songfulness —uninhibitedly romantic, yet hard indeed for even the most hard-hearted anti-romanticist to resist. Showmanship takes over again, however, in the Finale, Allegro con fuoco, 3/4, in which the hard-driving first theme is given a brisk fugato workout before the soloist enters with a brief cadenza. Both soloist and orchestra do their best to exhaust the energy potentials of this theme, and even when the soloist is singing the lyrical second theme echoes of the first persist in the busily bubbling woodwinds underneath. Then there is another, longer, and even more dazzling cadenza before the exhilarating dash — with last appearances of both themes —to the finish line. (extract from Notes by R.D. Darrell, D. Nimetz and Richard Freed)