The peripatetic life and career of the Belgian composer Henry Vieuxtempsanticipated the European concept almost prophetically in the 19th centu ry. The best example is his í_lí©gie of 1848: written in St. Petersburg, it celebrated its greatest triumphs in Paris, was printed in Offenbach amMain, and enthusiastically reviewed in London. Critics were quick to no te the expressive contrasts as well as the bravura style of the coda, which was Œñelegant and at the same time brilliantŒî. Following the publication of the Sonata op. 36 (HN 577), the í_lí©gie op. 30 now takes its placeamong VieuxtempsŒÍ viola works for the first time in an Urtext edition. Tabea Zimmermann was once again entrusted with the bowings; the preface was written by the Vieuxtemps specialist Marie Cornaz.
