Описание CD

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  Исполнитель(и) :
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  Наименование CD :
   Concerto Pour Violon. Concertos Pour Piano 1 Et 2



Год издания : 1977

Компания звукозаписи : Melodiya

Время звучания : 1:10:22

Код CD : Melodia URSS, LDC 278 925 (dist. Harmonia Mundi)

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Modern Classics/SU)      

Violinkonzert, Klavierkonzert Nr.1 & 2 - Snitkovsky, Nasedkin Alexei, Grand Orchestre Symphonique de la TRV de Moscou, Roshdestvensky, Dschuraitis, Nikolaevski (AD:1977)

========= from the cover ==========

A private pupil of Rimsky-Korsakov and a representative of a generation that sought a compromise between the nationalistic goals of the Group of Five and the more cosmopolitan tendencies of Tchaikovsky, Alexander Glazunov (1865-1936) was unquestionably a traditionalist, hostile to all evolutionary changes in musical language. And yet, this composer of predominantly orchestral music, possessed a feeling for sound-colour and musical architecture that has caused his music to survive and even in recent years, to experience a new lease of life. The three concertos on this recording date from a period when his productivity, which had been extremely intense in the first half of his life, had begun to slow down. The Violin Concerto, chronologically situated between those of Tchaikovsky and Prokofiev, was written in 1904, a year before Glazunov assumed the functions of director of the Saint Petersburg Conservatory, a post he held until 1928. The two Piano Concertos date from 1910 and 1917, the second being performed for the first time a few days after the October Revolution.

Glazunov had the gift - a very useful one in a composer - of being able to play almost any instrument, even if to a limited extent. This is, no doubt, one of the reasons his Violin Concerto is so highly regarded by violinists for its excellent adaptability to the fingers and to the bow. Its form contains certain peculiarities. The first movement, Moderate, includes an Andante sostenuto episode that has the effect of a premature slow movement; the very long and elaborate solo cadenza is almost like a movement in itself Here Glazunov demonstrates a skilful use of double stopping and luxuriant ornamentation. The finale, Allegro, follows without a break, launched by a fanfare theme and combines hair-raising technical feats by the violin with a sparkling orchestration enhanced by the greatest clarity of instrumental timbres.

The fruit of several years of work, the First Piano Concerto was written for Konstantin Igumnov, who was its first performer. Glazunov was not a virtuosic pianist and only wrote occasionally for the instrument. But the examples of Tchaikovsky's and Rachmaninov's concertos were obviously not lost on him. The two outer movements of the First Concerto are of almost equal weight. The initial Allegro moderato begins with a harmonically original orchestral introduction. A huge cadenza for the soloist follows in which the first theme is stated. The orchestra enters progressively, but it is once again the piano that brings in the contrasting motif which is very much in the spirit of Rachmaninov. From now on the soloist and the orchestra are opposed in a conflict of evenly matched forces. In the recapitulation the two themes are heard in the orchestra with the piano playing the part of a powerful accompanist. The second movement, Andantino tranquillo, is in the form of a theme with nine variations, the last of which serves as the finale. The theme is given out by the orchestra. Most of the variations bear indicative sub-titles: Chromatic (2nd), Heroic (3rd), Intermezzo (5th), Quasi una fantasia (6th), Mazurka (7th). The 9th contrasts the variation theme in a new rhythmic guise, with a repeat of the second theme of the first movement and concludes with a monumental fresco in F Major.

The Second Piano Concerto has several different antecedents. Its one-movement form invites comparison with Liszt's Second Concerto, and as in that work, a series of internal episodes can be distinguished that rather clearly correspond to the four movements of a symphony. The beginning is moderate in pace, peacefully meditative, with strong reminiscences of Brahms's Second Concerto in its first bars. A passage in the vein of a nocturne then follows, with the theme stated in the piano. It develops into a scherzando, the delicate touches of which are similar to the fairy-like scherzos of Glazunov's symphonies. This kinship is further emphasized in the finale which, like in the symphonies, is cast in an epic mould, with a simple, vigorous motif and highly coloured instrumental sonorities. Beginning in the wake of Western romanticism, the concerto finally moves in the direction of a vigorous affirmation of the composer's nationality.

A.L.


  Соисполнители :

Alexei Nasedkin (Piano)
Algis Juraitis (Conductor)
Dmitri Alexeev (Piano)
Guennadi Rojdestvenski (Conductor)
Semen Snitkovski (Violin)
Youri Nikolaevski (Conductor)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Mouvement I         0:12:48 Concerto No 1 Pour Piano Et Orchestre En Fa Mineur, Op. 92
   2 Mouvement II         0:18:02 -"-
   3 En Un Mouvement         0:19:41 Concerto No 2 Pour Piano Et Orchestre En Si Majeur, Op. 100
   4 En Un Mouvement         0:19:51 Concerto Pour Violon Et Orchestre En La Mineur, Op. 82

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

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