Богуслав Мартину - Рапсодия-концерт для альта с оркестром
Венсан д'Энди - Симфония на тему песни французского горца для ф-но с оркестром
The Martinu Rhapsody-Concerto comes from 1952, a year before the Sixth Symphony (the Fantaisies symphoniques) and first appeared on a Panton LP (8110 0024, 3/81—nla) played by Lubomir Maly and the Prague Symphony Orchestra under Vdclav Smetaeek. I mention its date since there is some foreshadowing of the Fantaisies symphoniques, particularly in the second movement, and the note does not place it specifically in time. It is a two-movement-work, free in its formal layout, imaginative: the quieter episodes have an inner repose and melancholy that are far more moving here than in the Maly/Smetaeek performance.
There is nothing spectacular or high-powered about this account of the Rhapsody-Concerto under Peter Maag. In fact, I first thought the opening needed to be held on a tighter rein but soon warmed to the great naturalness and breadth with which the music unfolds in his hands. As admirers of this conductor will expect, this is a selfless performance of the old school that allows Martinu to speak for himself without any attempt at interpretative point-making, yet there is no want of personality. The viola soloist, Rivka Golani is a wonderful artist and plays with a gloriously warm tone and much musical insight. If this reading is more leisurely than the tauter version by Smetaeek, it is also more thoughtful. The Smetaeek has a clear sense of direction and momentum while Peter Maag, by taking his time, penetrates deeper under the surface. The sound makes no attempt to be sensational either: the balance is that of a very fine broadcast rather than a seat in a concert hall; but detail is kept in an excellent and believable perspective.
Older readers may remember that Michel Block won Rubinstein's acclaim at Warsaw in the year that Pollini came to prominence and went on to make a fine DG recording of Chopin's B flat minor Sonata. Since then he has been active teaching: the late-lamented Terence Judd was one of his pupils. (I mention this since no information about either soloist is offered on the sleeve.) He is a sensitive player and gives a sympathetic account of d'Indy's Symphonie sur un chant montagnard francais. The recording, made in the Casino, Berne, is well balanced, with the piano slightly but not unrealistically forward, and again benefits from a well-judged perspective: it could perhaps open out more at climaxes. Recommended, especially for the MartinU, which is one of the finest works of his last period.
Bohuslav Martinu (1890 - 1959)
1-2. Rhapsody-Concerto for Viola & Orchestra
I. Moderato
II. Molto adagio
Vincent D'Indy (1861-1931)
3-5. Symphony Sur Un Chant Montagnard Francais (Symphonie cêvenole) pour Piano & Orchestra, Op. 25
I. Assez lent
II. Assez modere
III. Anime
Rivka Golani, viola
Michel Block, piano
Berne Symphony Orchestra
Peter Maag, cond.
http://files.mail.ru/5V7NV2
Комментариев нет:
Отправить комментарий