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Просмотр полной версии : ГИЛЕЛЬС ЭМИЛЬ - ищу его концерт Моцарта для двух роялей?



slava
29.08.2002, 08:38
ГИЛЕЛЬС ЭМИЛЬ - ищу его концетр Моцарта для двух роялей?
кажись №10. Видел его когда-то давно по ТиВи - играл толи с сестрой, толи с женой - не помню.
Памагите.
И что это за концерт был?

Anonymous
29.08.2002, 16:30
Уважаемый Slava, то, что Вы видели по телевидению - действительно, концерт Моцарта для двух ф-но с оркестром, KV 365 (№ 10). Только играл он его не с женой и не с сестрой (его сестра Елизавета Гилельс - скрипачка, вдова Леонида Когана и мать Павла Когана), а с дочерью Еленой. Дирижировал, если мне не изменяет память, Вячеслав Овчинников, который почему-то считается композитором и дирижером (по едкому замечанию Геннадия Рождественского).
Есть замечательная запись этого концерта Эмилем и Еленой Гилельс с Венским филармоническим оркестром под управлением Карла Бема (дирижера, как Вы понимаете, настоящего). Запись эта выходила в свое время у нас на пластинке, на компакт-диске она издана фирмой "Дойче Граммофон" вместе с исполнением Двадцать седьмого концерта Моцарта (солист Эмиль Гилельс, дирижер Карл Бем). Этот компакт недавно переиздан в серии "Originals", так что его вполне реально найти в магазинах. Желаю удачи !

slava
30.08.2002, 04:13
Уважаемый Slava, то, что Вы видели по телевидению - действительно, концерт Моцарта для двух ф-но с оркестром, KV 365 (№ 10). Только играл он его не с женой и не с сестрой (его сестра Елизавета Гилельс - скрипачка, вдова Леонида Когана и мать Павла Когана), а с дочерью Еленой. Дирижировал, если мне не изменяет память, Вячеслав Овчинников, который почему-то считается композитором и дирижером (по едкому замечанию Геннадия Рождественского).
Есть замечательная запись этого концерта Эмилем и Еленой Гилельс с Венским филармоническим оркестром под управлением Карла Бема (дирижера, как Вы понимаете, настоящего). Запись эта выходила в свое время у нас на пластинке, на компакт-диске она издана фирмой "Дойче Граммофон" вместе с исполнением Двадцать седьмого концерта Моцарта (солист Эмиль Гилельс, дирижер Карл Бем). Этот компакт недавно переиздан в серии "Originals", так что его вполне реально найти в магазинах. Желаю удачи !

Огромное спасибо, интересно, как пишется имя Гилельса в немецкой и анлийской транскрипции...

slava
30.08.2002, 05:15
Concerto for Two Pianos and Orchestra in E-flat, K.365

1949 - Moscow - Zak - USSR State O./Kondrashin

PERIOD SPL 601 (LP)
MONITOR MC 2006 (LP)
CLUB INTERNACIONAL DEL DISCO CID 60 (LP)

30/8/1972 - Salzburg - Live - Elena Gilels - Vienna P.O./Bohm

ROCOCO 2093 (LP)
SARDANA RECORDS SACD 218/9 (2CD)

19,21/9&21/11/1973 - Vienna - Elena Gilels - Vienna P.O./Bohm

DG 2530 456 (LP)
DG 419 059-1 (LP)
ETERNA 8 26 764 (LP)
MELODIYA S10 05131-32 (LP)
DG 419 059-2 (CD)
DG 427 224-2 (3CD)
DG 423 355-2 (CD) [3rd mvt]
DG 469 031-2 (7CD) [3rd mvt]
DG POCD 2334 (CD)
DG POCG 2162-5 (4CD)
DG POCG 9443-50 (8CD)
DG POCG 90276 (CD)
DG 449 322-2 (2CD)
DG 463 652-2 (CD)

slava
30.08.2002, 05:33
Много лет назад это было - но я помню, что меня тогда поразило в том черно-белом экране. Такого диалога между мужским и женским началом в музыке я ни до того, ни после не слышал. Так мне тогда услышалось. Хотелось бы услышать снова и проверить те впечатления. Не знаю истории и мифологии написания этого концерта Моцартом.
Помню только, что слушал я этот концерт в гостиннице "Юбилейная" города Благовещенска - м-да - далеко это.

slava
01.09.2002, 05:08
Concerto for 2 pianos & orchestra in E flat major ("Concerto No. 10"), K. 365 (K. 316a)
Composer
Wolfgang Amadeus Mozart
Genre
Piano Concerto
Composition Date
1779
Description

Mozart's musically gifted sister, Nannerl, figured prominently in several of his compositions. Some accounts insist she was at least as gifted a keyboard performer as her younger brother, and as early as 1764, when Wolfgang was eight and Nannerl was thirteen, they toured and performed together at either one or two keyboard instruments. Thus, several years later, the idea of a concerto for two pianos likely came naturally to Wolfgang. No specific circumstances of this work's creation have been unearthed, however.

In 1779, the young composer had thrashed his way through the shoals and pitfalls of adolescence and endured his first heartbreak. After an extended tour of Europe, he reluctantly accepted the forgiveness and employ of the Archbishop of Salzburg and although the man was a Philistine when it came to music, Wolfgang set about trying to please him. With both the French and Italian styles still fresh in his mind, he set down two fine works in the double concerto format. The second of these was the Sinfonia Concertante for Violin and Viola in E flat, K.364 and the first was the present piece. While there is some evidence that fragments of the work were set down as early as 1775, the piece is generally considered to have been finally assembled and finished in early 1779.

In three movements, and relatively long at twenty-five minutes, the work is challenging for both soloists. The parts are also equally assigned so that there is not a first solo and a second solo. Passages intermingle, and the piece in general is a tour de force for performers and listeners alike. The first movement, a ten-minute Allegro, opens with a lengthy orchestral introduction containing an ambitious theme. Both pianos finally enter together, and after briefly alternating introductory phrases, join together in the first theme. A second theme is more ominous, and sounds as if it could be the basis for early silent film dramatic accompaniment. The orchestra puts a stop to this with a repeat of the brusque opening; after a gentle recapitulation, the movement ends in a tripping double cadenza and coda.

The second movement, an eight-minute Andante, begins as a stately Minuet in the orchestra. When the theme appears in the pianos, it is divided into two solo passages. The two soon seem to flow together, and passages alternate between soloists and orchestra, nicely leading and accompanying each other. The movement also offers one of the mature Mozart's first uses of surprise dissonance, as unexpected notes appear in exposed piano passages. The movement ends abruptly. The finale is a marvelous rondo. Although it is appropriately scored for the instruments and orchestra of his day, the size and power of it make one wonder what Mozart might have crafted with modern concert grand pianos at his disposal.

The genius of the work lies in its seamlessness. Even the casual listener will discern that there are too many notes to be played by a single instrument, yet without visual reinforcement it is essentially impossible for the hearer to separate the solo parts. Mozart created here a large work for four perfectly coordinated hands and two full-size keyboards. It is significant in his output as standing among the first works of his maturity following his return to Salzburg and the death of his mother.

-- Michael Morrison

slava
01.09.2002, 05:13
Concerto for 2 pianos & orchestra in E flat major ("Concerto No. 10"), K. 365 (K. 316a)
Composer
Wolfgang Amadeus Mozart
Genre
Piano Concerto
Composition Date
1779
Description

Mozart is believed to have written this work at Salzburg early in 1779, for performance by himself and his sister Maria Anna.
Twenty months before the Elector of Bavaria enabled Mozart to escape from Salzburg, he returned there from the misbegotten grand tour of 1777 - 1779 during which his mother died, in Paris. No one anywhere had offered him a position: in fact, Paris was coolly indifferent to the young man, though the French had doted on him as a child prodigy in 1764 - 1766. He composed little, earned less, and in his father's eyes was a failure. Yet Mozart learned much, especially from the great orchestra at Mannheim, and matured significantly as a composer. Nothing better illustrates this than the dual-keyboard concerto for himself and "Nannerl" -- generally accepted today as a product of 1779.

While it lacks nothing of grace and charm (the teenage Mozart's specialty in all kinds of music), themes and scoring have a character and subtlety found in just a few earlier compositions. During the first 21 years he wrote a plenitude of works that audiences welcomed with interrogatory pleasure ("Ah!...is it Mozart's?"). With the two-piano concerto, he broke through and moved beyond.

Even without detailed analysis, maturity is evident in themes that transcend formulaic shape and sheer prettiness. The slow movement in B flat has a pang of regret that echoes the opening movement's unpredictable seriousness when least expected. But the final Rondeau is buoyant as well as orchestrally liberated from simple accompanying -- a finale that anticipates the crowning glories in his solo concertos for Vienna, starting with No. 11 (K. 413) through No. 27 (K. 595).
A word about scoring, originally for oboes, bassoons, horns, and strings. In 1781 - 1782, Mozart played the work twice for Viennese audiences with his pupil Josepha von Auernhammer ("a fright, but [she] plays enchantingly"), possibly with added parts for clarinets, trumpets, and timpani. But, as Robert Levin wrote in H.C. Robbins Landon's Mozart Compendium, "authenticity [is] not beyond doubt."

-- Rober Dettmer

Anonymous
05.10.2002, 19:01
ГИЛЕЛЬС ЭМИЛЬ - ищу его концетр Моцарта для двух роялей?
кажись №10. Видел его когда-то давно по ТиВи - играл толи с сестрой, толи с женой - не помню.
Памагите.
И что это за концерт был?

он есть в консерватории

http://www.consaudio.ru

Дальше "Поиск"

slava
07.10.2002, 16:34
Спасибо

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