Nemanja Radulović

Le duo violon et harpe est plutôt rare. On a davantage l'habitude d'associer la flûte à la harpe, alors que les sonorités du violon et de la harpe se marient à merveille. La harpiste Marielle Nordmann et le violoniste Nemanja Radulovic qui sont amis de longue date et se produisent souvent ensemble, nous offrent (enfin !) un enregistrement de leur belle collaboration. Dans cet album les transcriptions sont majoritaires, car le répertoire original pour cette formation est assez restreint. On trouve même la célèbre Méditation de Thaïs de Jules Massenet (au départ pour violon et orchestre) dont on ne compte plus les adaptations..

Le duo violon et harpe est plutôt rare. On a davantage l'habitude d'associer la flûte à la harpe, alors que les sonorités du violon et de la harpe se marient à merveille. La harpiste Marielle Nordmann et le violoniste Nemanja Radulovic qui sont amis de longue date et se produisent souvent ensemble, nous offrent (enfin !) un enregistrement de leur belle collaboration. Dans cet album les transcriptions sont majoritaires, car le répertoire original pour cette formation est assez restreint. On trouve même la célèbre Méditation de Thaïs de Jules Massenet (au départ pour violon et orchestre) dont on ne compte plus les adaptations..

Nemanja Radulovic takes on Tchaikovsky for his second Deutsche Grammophon release, promising a personal approach to one of the warhorses of the repertory, the Violin Concerto in D major, Op. 35. The album's most unusual feature is the full-scale reworking of the Variations on a Rococo Theme, Op. 33, recast here for viola, string ensemble, and piano by Radulovic collaborator Yvan Cassar and played by the violinist's (or here, violist's) own Double Sens ensemble.

“This album presents the core of the violin repertoire – Beethoven's Violin Concerto and Kreutzer Sonata,” says Nemanja Radulović. While these Beethoven masterpieces have been recorded countless times, Radulović’s approach to each of them has an element of innovation. For the concerto, he has expanded Double Sens, the chamber ensemble he founded in 2008. “I wanted to retain the special character of Double Sens as an ensemble which plays without a conductor and explores new ways of interpretation … In our recording of the concerto, we wanted to convey a range of emotions – courage, risk, joy, love, rage, sadness, nostalgia, and magical serenity and tenderness.”

“This album presents the core of the violin repertoire – Beethoven's Violin Concerto and Kreutzer Sonata,” says Nemanja Radulović. While these Beethoven masterpieces have been recorded countless times, Radulović’s approach to each of them has an element of innovation. For the concerto, he has expanded Double Sens, the chamber ensemble he founded in 2008. “I wanted to retain the special character of Double Sens as an ensemble which plays without a conductor and explores new ways of interpretation … In our recording of the concerto, we wanted to convey a range of emotions – courage, risk, joy, love, rage, sadness, nostalgia, and magical serenity and tenderness.” Rather than playing the grandly scaled Kreutzer Sonata in partnership with a pianist, he performs it here in his own arrangement for solo violin and five-part string ensemble. “While remaining faithful to Beethoven, I allowed myself to exercise my imagination.”