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Дмитрий Ларош
13.01.2003, 10:47
Кстати, Дмитрий, Вы как заядлый филофонист, могли бы, наверное, время от времени, делиться с нами Вашими впечатлениями от новинок. Благодарные (по крайней мере, -ый), уверяю Вас, найдутся


:)

Дмитрий Ларош
13.01.2003, 10:54
http://www.deccaclassics.com/dmgcat/images/458/028945827124-CvrSmall.jpgFrancois Couperin {1668-1733}:
Les Gouts-Reunis
Les Talents Lyriques/Cristophe Rousset
Decca {Full} 458 271-2 {138:38} Rec.1994-95 ©2002

Сочиненный Франсуа Купереном в 1724 году цикл десяти “Новых концертов” является логичным продолжением созданных двумя годами ранее “Королевских концертов”.Связь между двумя циклами обусловлена еще и формальным родством сочинений-каждый из “концертов” строится у Куперена по распространенному принципу инструментальной сюиты.Изящный французский подзаголовок “Gouts-Reunis” теряет в русском переводе всю свою привлекательность,именуясь “Обьединенными вкусами”.В этом названии заключена важнейшая концептуальная идея сочинения-объединения в музыке одного произведения особенностей двух противоборствующих в музыке XVIII века французского и итальянского стилевых направлений.
Исполнительская судьба “Обьединенных вкусов” оказалась в недавнем времени весьма успешной.В 1993 году фирмой “KOCH” была опубликована архивная запись {37705-2} Восьмого концерта Куперена выполненная под управлением легендарного Альфреда Корто в начале 1930-х годов.Спустя почти полвека Йозеф Ульзамер со своим ансамблем произвел запись полного собрания “Новых концертов” {переиздана в 1999 году фирмой “Archiv Production”- 459 484-2}.К тому же времени относится и запись братьев Кёйкенов {“SEON”}-самое значительное до последнего времени дискографическое воплощение “Новых концертов”.
Рецензируемый альбом был записан между 1994-95 годами молодым мэтром своременного аутентичного исполнительства Кристофом Руссе.Остается лишь гадать,почему на протяжении 8 лет столь любопытная запись не была опубликована-диск был издан лишь в феврале с.г..
Лбопытна драматургия этого альбома. Избрав собственный порядок исполнения частей цикла французским музыкантам под руководством Руссе удалось удивительной драматургической цельности.Каждый из 2 дисков представляет собой законченную концертную программу идентичного построения в том виде,в которм она могла бы звучать при дворе Людовика XIV.В подобном построении программы угадывается и скрытый исполнительский подтекст-если первый диск обьединяет концерты,стилистически подобные “французскому вкусу” {особенно это заметно в ставящем финальную точку Пятом концерте},то второй диск целиком посвящен “итальянским концертам” Куперена.
На мой взгляд стоит отметить не только изумительное исполнение музыки Куперена “Лирическими талантами” в целом,но и особенно примечательные работы отдельных музыкантов.Прежде всего из целого ансамбля выделяется игра скрипача Франсуа Фернендеса,игру которого в Девятом и Десятом концерте можно справедливо отнести к вершинам аутентичного исполнительства.Слегка омрачает общее положительное впечатление от данного диска исполнение 12 и 13 концертов-при логичном сравнении с записью Жерома Антаи {Virgin 545323-2} версия ансамбля Руссе заметно проигрывает.Однако подобное замечание относится лишь к моим субьективным музыкальным пристрастиям и нисколько не умаляет достоинств записи Руссе.

Дмитрий Ларош
13.01.2003, 10:55
http://www.iclassics.com/iclassics/feature.jsp?featureId=757
As major and independent labels put finishing touches on their release schedules for the first half of 2003, it’s clear that in terms of both variety of repertoire and quality of artistry the new year promises to be a thrilling one for record collectors around the world.

Below is a sampling of what listeners have in store for them next year (all release dates subject to change):

EMI/Angel

True to its celebrated legacy, EMI/Angel has an impressive line up of vocal and opera releases scheduled for early 2003.

Together and individually, the love duo of Angela Gheorghiu and Roberto Alagna has several high-profile projects that are sure to impress. Alagna gets the ball rolling in January when he co-stars with the extraordinary Natalie Dessay in Donizetti: Lucie de Lammermoor. This is the world premiere studio recording of the opera’s original French language version of 1839, captured days after acclaimed live performances at the Op&ra de Lyon. Noted Le Monde de la Musique, "No doubt Lucie is opening up for Natalie Dessay the doors of a new and more dramatic repertoire." Alagna flies solo in February with a collection of Berlioz arias and songs, timed to the bicentennial of the composer’s birth. As Le Monde de la Musique also observed, "he’s the only tenor to master the French language with such natural fluency." That same month, Alagna and Gheorghiu come together for another momentous opera recording. Following their highly acclaimed Tosca, Gheorghiu stars in the title role of Bizet’s Carmen, with Alagna in the role of the love-torn Don Jos&. Thomas Hampson fills out the all-star cast as Escamillo, with Michel Plasson conducting. The recording also features an aria never before recorded or performed.

EMI’s Callas Forever is likely to add another bestseller to the legendary Greek soprano’s discography (Feb). The new album, featuring Callas’ greatest performances of 16 favorite arias from her EMI catalog, is the soundtrack to a new film by Franco Zeffirelli. It features a fictionalized account of the diva’s last days in Paris and stars Fanny Ardant with Jeremy Irons as a shifty impresario.

Two Baroque albums from Fabio Biondi and Emmanuel Pahud will undoubtedly provide pleasure. Biondi’s ongoing survey of Vivaldi’s instrumental music for Virgin Classics has been widely acclaimed, and in January he and Europa Gallante bring us Vivaldi: Mandolin Concertos and the Venetian composer’s other concerti for "Molto Instrumenti." Pahud’s offering, also in January, is Telemann: Flute Concertos with the Berlin Baroque Soloists (whose members are drawn primarily from the Berlin Philharmonic). Gramophone editor James Jolly has just chosen Pahud’s album amongst his "Editor’s Choice" selections for December 2002.

Finally, in the realm of creative crossover, composer and conductor Tolga Kashif conducts The Queen Symphony (referring to the band, not the royal personage). This is not a collection of orchestral arrangements of Queen songs but a fully integrated, six-movement symphonic work commissioned by EMI Classics incorporating melodies written by the legendary rock group.

Universal Classics

Boasting three of the flagship labels in the classical recording industry – Decca, Deutsche Grammophon and Philips Classics – Universal Classics has a tradition of superior artistry.

"Star-power" is the best way to describe the releases Universal Classics is planning to bring to market in 2003, beginning with some of the top names in opera today. Under the Stars is a collection of Broadway favorites sung by two of opera’s greatest superstars: soprano Ren&e Fleming and bass-baritone Bryn Terfel. The February release from Decca, recorded earlier this year in Wales, features Fleming and Terfel in classics by Cole Porter, Rodgers & Hammerstein, Kander & Ebb, Andrew Lloyd Webber, and Stephen Sondheim, plus new arrangements by some of the hottest contemporary arrangers. Award-winning Broadway veteran conductor Paul Gemignani leads the acclaimed Welsh National Opera Orchestra.

The handsome and golden-voiced Peruvian tenor Juan Diego Fl&rez returns with a new release on Decca of Bel Canto arias scheduled for April. Described by the Wall Street Journal as a singer possessing "the artistry and the personal charisma to conquer millions," Fl&rez is featured in arias by Bellini and Donizetti, including favorites like "Una Furtiva Lagrima" from Donizetti’s L’Elisir D’Amore and the exuberant "Ah!...Mes Amis..." from the same composer’s La Fille Du Regiment (with its famous series of nine high Cs).

Universal also boasts stellar instrumentalists such as Anne-Sophie Mutter. Her new album, Tango, Song and Dance is a departure into more fun and flashy territory for this eminently serious artist. The title refers to Andr& Previn's Tango Song and Dance, written for Anne-Sophie Mutter, and premiered at the Lucerne Festival in 2001. Along with the Previn premiere, the repertoire includes Brahms’ Hungarian Dances, Gershwin’s Porgy and Bess, three Kreisler melodies, as well as Faur&’s Sonata (April). Reviewing a concert performance of this material earlier his year, veteran Chicago Tribune critic called the program, "A trip back in time to the concerts of virtuoso miniatures with which fiddle players used to dazzle audiences 50 or more years ago. Mutter’s exquisite readings reminded one how much fine, rewarding music there is...not for a long time has the bittersweet charm and sentiment of this music been better captured."

There are plenty of other superb instrumental releases coming from Universal in 2003. Siberian violinist Vadim Repin makes his Philips Classics label debut with Valery Gergiev and the Kirov Orchestra in concertos by Tchaikovsky and Miaskovsky (January). Mitsuko Uchida’s Perspectives, a two-CD survey of the Japanese pianist’s extraordinary discography, will be released to coincide with the beginning of her two-season "Perspectives" series at Carnegie Hall (Jan). All of the repertoire was chosen by Uchida, from the Viennese classics – Mozart, Beethoven and Schubert – as well as the Second Viennese School, and French music by Debussy and Messiaen. On DG, Mikhail Pletnev plays a powerhouse all-Russian program featuring Prokofiev’s high-energy Piano Concerto No. 3 and Rachmaninov’s sprawling Piano Concerto No. 3, with Rostropovich conducting the Russian National Orchestra (March). A more intimate program can be heard on DG’s Schubert for Two, a collection of works for violin and guitar featuring Gil Shaham and G&ran S&llscher (February). The album is the long-awaited follow up to their best selling Paganini for Two and features 32 tracks of Schubert dances, lieder arrangements and Moments Musicales played with an innate sense of style and charm by two great musicians.

The orchestral offerings from Universal range in tone from lighthearted to visionary. For starters, there are two January releases that could hardly be more different (or compelling). Myung-Whun Chung pushes Deutsche Grammophon closer to its goal of a complete Messiaen collection with the release of Messiaen: Des Canyons aux Etoiles, a spiritual celebration of nature (the canyons of Utah to be precise) written by the composer to celebrate the American bicentennial. Then, DG returns to a Yellow Label tradition by issuing the New Year's Concert in Vienna (2003), with conducting maverick Nikolaus Harnoncourt at the helm of the Vienna Philharmonic.

An all-Debussy album from Claudio Abbado boasts the peerless playing of the Berlin Philharmonic, and some innovative programming (Feb). The Three Nocturnes – long an Abbado favorite – and the Pr&lude & l'apr&s-midi d'un faune – with flute soloist Emmanuel Pahud – will be reason enough to want to hear the album. But Abbado also adds music from the composer’s opera Pell&as et M&lisande to the mix, a rarely heard concert suite arranged by conductor Erich Leinsdorf.

Those who have heard Pierre Boulez’s shattering live performances of Mahler’s epic Third Symphony have been anxious to hear the DG recording that was rumored to be "in the works." It’s scheduled for March, and features Swedish mezzo Anne Sofie von Otter and the Vienna Philharmonic.

If you still have a roof after listening to Boulez’s Mahler, you won’t for long after hearing Valery Gergiev’s rendering of Prokofiev’s Alexander Nevsky and Scythian Suite with the Kirov Orchestra. The album celebrates both Gergiev’s 50th birthday and the 50th anniversary of the death of Prokofiev.

Paul McCreesh offers an intimate recording of Bach’s St. Matthew Passion – truly one of the monuments of Western music (April). McCreesh uses very limited forces – just eight singers, no chorus as such, and two chamber-size orchestras. The fine line-up of young singers includes Deborah York, Julia Gooding, Magdalena Kozen&, Susan Bickley, Mark Padmore, James Gilchrist, Peter Harvey, and Stephan Loges.

Harmonia Mundi

For pure class and artistic integrity, Harmonia Mundi – as evidenced by their scheduled releases for 2003 – is hard to beat. Their covers are livelier these days and the artistry and repertoire more diverse, but what hasn’t changed is this label’s commitment to quality performances presented in glorious packaging.

HM’s scheduled opera and vocal releases are plentiful and mouthwatering. Konrad Jungh&nel and Cantus C&lln, winners this year of a Gramophone Award for their ambitious Monteverdi project, return in January with Telemann: Trauer-Actus. Also in January, baritone Dietrich Henschel[/llink] sings the arch-Romantic songs of Erich Wolfgang Korngold on Korngold Lieder. The composer wrote forty songs, all written between 1911 and 1952, and this new complete recording contains many premieres, including some songs that were transcribed from Korngold’s original manuscripts.

Next comes Baltic Voices I, the first release in a three-year, multi album project with Paul Hiller and the Estonian Philharmonic Chamber Choir exploring the vocal riches of the Baltic region (Feb). The repertoire includes music by Veljo Tormis and Arvo P&rt, and Absolute Sound calls the music "at once unusual and unusually beautiful." Then, in March, Bernarda Fink and an impressive line-up of young singers join the Concerto Vocale under the direction of Ren& Jacobs for a recording of Monteverdi’s Madrigali Guerrieri ed Amorosi (Book 8). Further down the line in May, Vivica Genaux headlines a new recording of H&ndel’s Rinaldo also conducted by Ren& Jacobs (Gramophone editor James Jolly ranked the live performances that preceded these recordings amongst the best performances he attended in 2002).

Complementing these vocal riches is an extraordinary line up of instrumental, chamber and orchestral issues. In January, the viols of Fretwork are put to the service of Bach’s enigmatic final masterpiece, The Art of Fugue (Jan). The album was named "Editor’s Choice" in the December 2002 issue of Gramophone. Gramophone Award winner Andrew Manze continues his superlative series of recordings of the great Baroque violin repertoire with a complete recording of Corelli’s Op. 5 Violin Sonatas with harpsichordist Richard Egarr (March). The release coincides with Manze’s farewell tour of North America with the Academy of Ancient Music in Spring 2003. Darkness into Light is an imaginative pairing of the medieval and modern – described by HM as a "mystical journey" – featuring music by England’s leading contemporary composer Sir John Tavener (including the world premiere recording of his Bridegroom) juxtaposed with music from the Middle Ages. Anonymous 4 and the Chilingirian Quartet team up on this compelling and hauntingly beautiful new album (April).

Naxos

Having celebrated its 15th anniversary in 2002 in the position of the world’s leading classical music label, Naxos has much to be proud of. From its modest beginnings in Hong Kong, the White Label has amassed leading market share in the world’s top classical music markets through its innovative formula of quality engineering, adventurous programming and a consumer-friendly price. With a new generation of higher profile artists – such as the Bournemouth Symphony’s Marin Alsop – and groundbreaking series such as American Classics, the label is poised in 2003 to launch an exciting new era of growth and artistic achievement.

Naxos’ release schedule for the first half of the New Year is ambitious and wide-ranging. Each American Classics release is an opportunity to discover American composers who, in many cases, have unjustly languished in the shadows of their European counterparts, beginning in January with colorful orchestral works by George Templeton Strong (1856-1948). Moving to American music of our own time, Naxos will also release Michael Torke’s percussion concerto Rapture in January, with the Royal Scottish National Orchestra and soloist Colin Currie conducted by Marin Alsop. Other American Classics titles will include the First Symphony of Nicolas Flagello (1928-1994) (March) and three titles featuring the Seattle Symphony Orchestra conducted by Gerard Schwarz: Piston’s Symphony No. 4, Diamond’s Symphony No. 3 and Hovhaness’ Symphonies Nos. 22 and 50 (April). The releases from Seattle are acclaimed recordings previously issues on the Delos label.

Over the past few years, Naxos’ commitment to British music has yielded a bumper crop of orchestral, chamber and choral discs of superior quality. That trend continues in early 2003 with the latest installment in the Gramophone Award-winning Maggini Quartet’s survey of works by Arnold Bax. This issue includes Bax’s Lyrical Interlude and Quartet No.3 (January). Also in January is a disc of choral music by Gerald Finzi featuring the Choir of St. John's College, Cambridge under the direction of Christopher Robinson. Later, Peter Donohoe brings us Piano Concertos Nos. 1 and 2 by Alan Rawsthorne, while the Choir of Clare College, Cambridge and the City of London Sinfonia bring us John Rutter’s Requiem (April).

Other intriguing Naxos releases include Volume 3 in Bernd Glemser’s survey of Prokofiev’s Piano Sonatas (January), Tone Poems by Jean Sibelius conducted by Petri Sakari (January), Violin Concertos Nos. 1, 8 and 9 featuring soloist Takako Nishizaki (February), Symphonies Nos. 3 and 10 by Liszt’s prot&g& Joachim Raff, conducted by Urs Schneider (February), Einojuhani Rautavaara’s Seventh Symphony conducted by Hannu Koivula (February), Ligeti’s Etudes Books Nos. 1 and 2 featuring pianist Idil Biret (March), Arvo P&rt’s Passio performed by Tonus Peregrinus (April), and a collection of orchestral music by Bright Sheng with Samuel Wong conducting the Hong Kong Philharmonic (April).

Sony Classical

Sony Classical’s reputation as a marketing powerhouse – the label received a number one record for outstanding sales of the Goldberg Variations by Glenn Gould – is on display in early 2003 with the label opting for a wide variety of classical and crossover, along with unusual projects that defy standard categorization.

In the "straight ahead" category, Sony Classical’s top pianists have new projects in April. Murray Perahia, whose current Chopin: Etudes opp. 10 & 25 album has garnered not one negative review, returns with an all-Schubert album, and Emanuel Ax brings us solo piano music by Haydn. In June, it’s double tenor power when Salvatore Licitra and Marcelo Alvarez team up for Il Duetto.

Soundtracks are prominent in the label’s 2003 playbook. In February comes Gods and Generals, already hailed by one Civil War scholar as the finest film ever made about the Civil War. Ron Maxwell directs, and the sultry singer/songwriter Mary Fahl, who has established an enthusiastic following as the voice of The October Project, offers up a haunting new song, "Going Home" (a Fahl solo album in April will mark her full-scale debut with the label). Other soundtracks include The Guys, which tells the story of a journalist (Sigourney Weaver) who helps a fire captain write a series of eulogies for men he lost at the World Trade Center, and Tan Dun’s soundtrack for The Hero.

Sony Classical presents a dazzling variety of other priority releases. In January, there’s Mark O’Connor's Hot Swing, with the fiddler joined by singer Jane Monheit and trumpeter Wynton Marsalis in a re-creation of Le Jozz Hot in 1930s Paris. Also in January, the Opera Babes – a soprano and mezzo duo from England – hope to dazzle American listeners with Beyond Imagination, which features popular arias and melodies re-imagined for a contemporary audience. American Tenors is scheduled for February, featuring Nathan Granner, Daniel Montenegro and Mauricio O’Reilly singing inspirational American songs. Further down the line, Spanish sensations Sonia Santana and the Saratoga Band recreate the thrills of 1940 and 1950 Havana nightlife with Santana’s debut album. The album features new arrangements by the great Tony Perez conjuring up Cuban jazz, mambo, samba, bolero, Latin Swing and the greatest hits of the immortal Carmen Miranda.

Telarc

With its adventurous repertoire and state of the art recording methods, Telarc has been one of the most exciting independent labels for more than a quarter century. Today, new generations of artists – including some of America’s most compelling young musicians – are taking the label to new heights of artistic excellence.

Few young American conductors are more talked about – or more generously praised by critics – than Robert Spano. As the newly appointed Music Director to the Atlanta Symphony – a long time Telarc partner – Spano will conduct two discs of powerful orchestral warhorses in releases due out in May. The first is an eclectic all-American program featuring classics as well world premieres: Barber’s Symphony No. 1, Copland’s Appalachian Spring, Corigliano’s Elegy for Orchestra, Jennifer Higdon’s Blue Cathedral and Christopher Theofonidis’ Rainbow Body. The second release is an all-Tchaikovsky blockbuster featuring the fateful Fourth Symphony and the evergreen Romeo and Juliet Fantasy Overture.

Another hot new partnership – that of the Cincinnati Symphony and their new Music Director Paavo J&rvi – will be showcased on Telarc in early 2003, this time on an all-Stravinsky recording due in March. The repertoire includes the composer’s popular Firebird and Petrushka suites as well as the Scherzo & la Russe. Other symphonic discs to look forward to: Russian composer Rheinhold Gli&re’s extravagant Gli&re: Symphony No. 3 "Il'ya Murometz" with Leon Botstein conducting the London Symphony (January), an all-Hovhaness disc from Gerard Schwarz and the Royal Liverpool Philharmonic – including Symphony No. 2, Mysterious Mountain, Symphony No. 66: Hymn to Glacier Peak, Symphony No. 50 Mount St. Helens and Storm on Wildcat (April).

To this impressive list of orchestral entrees, Telarc is offering a deluxe operatic dessert on their 2003 release menu with a rarity by Richard Strauss: Die Agyptische Helena ("The Egyptian Helen"), recorded live in New York’s Avery Fisher Hall. Leon Botstein conducts American Symphony Orchestra and an all-star cast including the great American soprano Deborah Voigt, and winner of the Musical America "Vocalist of the Year" award for 2003 whom the New Yorker describes as a "Strauss soprano of potentially historic distinction" (June).

Warner Classics International

Surviving restructuring, downsizing and – like all labels – the challenges of a fast-changing market, the Warner Classics labels – Warner Classics, Erato and Teldec among others – will nonetheless field an interesting variety of extremely compelling – and sometimes decidedly offbeat – releases in 2003.

Perhaps the most intriguing are projects featuring French pianist Pierre-Laurent Aimard. For years Aimard was considered primarily a new music specialist. Yet in just a few seasons – and after a superb showing in his Carnegie Hall debut, available on CD as Pierre-Laurent Aimard at Carnegie Hall – Aimard has become a critic’s favorite who can hardly do any wrong, even in the standard repertoire. Fans will have to wait until May to hear his recording on Teldec of Beethoven’s complete Piano Concertos with Nikolaus Harnoncourt and the Chamber Orchestra of Europe. One month later, Teldec will release Aimard’s African Rhythms, featuring works by Reich and Ligeti as well as music by Nzamba Lela, Pygmies from Central Africa.

Few projects have garnered as much critical support as Teldec’s ongoing Ligeti Project. Volume III is slated for January and features a fascinating program including the Violin and Cello Concerti, Clocks and Clouds, and With Pipes, Drums and Fiddles in performances conducted by veteran new music maven Reinbert de Leeuw. Volumes IV and V are scheduled for May.

In the even "newer new" department, Warner Classics will present Michael Nyman in collaboration with India’s leading classical musicians. Entitled Sangam, the project features Nyman (best known for his film scores for Peter Greenaway films and Jane Champion's The Piano) and the Michael Nyman Band alongside mandolin sensation U Shrinivas and the masters of khyal vocals, Rajan and Sajan Misra (March).

There are plenty of other notable releases coming from the Warner Classics group of labels. On Erato, Edward Higginbottom and the New College Choir perform the world premiere of a new edition of Pergolesi: Marian Vespers (Jan). A classic returns to the catalogue with Lotte Lenya’s performance in Weill’s Three Penny Opera. Available on Teldec’s Telefunken Legacy, the recording is a brilliant re-mastering of the historic 1930 recording (Feb).

In March, Warner Classics will release Zez Confrey: The Piano Rolls, realized by Artis Wodehouse. Born in 1895 in Illinois, Confrey was best remembered for his novelty rags, which combined impressionistic harmonies with the rhythmic complexities of piano roll arrangements. Celebrating its 25th Anniversary season, Chanticleer will also be featured in a March release from Teldec, a greatest hits album entitled A Portrait. Spanning 700 years of music, A Portrait features the 12-male group the New York Times recently called "phenomenal" and includes a special bonus track never before released. Finally, March welcomes the release of a special 50th Anniversary limited edition deluxe box set dedicated to the music of Sergei Prokofiev. This fascinating survey features incredible rarities including Prokofiev playing the piano and special radio interviews. The artists on this specially-priced Warner Classics release include Rostropovich, Vengerov, Nagano, Repin, Katsaris, Masur, Kitaenko, Millstein and Tennstedt.

Finally, in April, guitarist Sharon Isbin, one of Warner Classics’ best selling artists, will perform on a new Baroque album featuring works by Vivaldi, Bach and Albinoni, with the Z&rich Chamber Orchestra. After so many unusual musical adventures courtesy of the Warner Classics group of labels, Isbin’s offering may come to some as a return to terra firma.

Дмитрий Ларош
13.01.2003, 12:11
http://images-eu.amazon.com/images/P/B000063TEB.08.MZZZZZZZ“At Carnegie Hall”
Alban Berg:Piano Sonata op.1
Ludwig van Beethoven:Sonata op.57 “Appassionata”
Franz Liszt:Legende №2 “St.Francis de Paul marchant sur les flots”
Claude Debussy:”Reflets dans l’eau”,”Poissons d’Or” from “Images pour piano”
Gyorgy Ligeti:”Cordes vides”,”Automne a Varsovie”,”Die Zauberlehring” from “Etudes pour piano”
Olivier Messiaen:”Premiere communion de la Vierge” from “Vingt Redards sur l’Enfant Jesus”
Claude Debussy:”Pour les huit doigts” from “Etudes pour piano”
Pierre-Laurent Aimard
Teldec 0927-43088-2 {Full} {75:46}Rec.live 3.12.2001.©2002.


До выхода в свет настоящего диска имя французского пианиста Пьера-Лорана Эмара ассоциировалось у поклонников фортепианного искусства с многочисленными записями музыки нашего времени.Эмар пробовал себя в различных артистических ипостасях-в качестве участника ансамбля “Intercontemporain” великолено исполнив труднейшую сольную партию в сочинении Пьера Булеза “Repons” {Deutsche Grammofon “20/21” 457 605-2}.В одинаковой степени хороши и записи Эмара,опубликованные в проекте “Gyorgy Ligeti Edition” фирмой “Sony Classical”.Среди нескольких альбомов фортепианной музыки патриарха авангарда прошлого столетия особенно выделяется диск,представляющий Эмара в ансамбле со своей супругой Ириной Катаевой.На мой взгляд,интерпретацию цикла “Трех пьес для двух фортепиано” пианистической четой Эмар/Катаева можно во многом считать эталонным по отношению к другим исполнениям этого сочинения.
Несколько лет назад пианист подписал эксклюзивный контракт с компанией “Warner Classics”.В последние годы репертуарной политикой новый артист “Teldec” старается разрушить сложившееся в музыкальном сообществе суждение об Эмаре как о весьма тонком исполнителе исключительно “современного” репертуара.Сегодня мы можем с точностью сказать о том,что артисту эта задача удалась.
На рецензируемом диске,записанном во время того памятного декабрьского клавирабенда с документальной точностью воспроизведены все детали вытсупления пианиста.Нарастающее crescendo зрительской симпатии к Эмару после исполнения открывающей вечер сонаты Альбана Берга выливается в почти что экстатическую бурю рукоплесканий после заверщающей “официальную” часть программы “Осени в Варшаве” Лигети…
При первом же взгляде на программу концерта понимаешь с каким талантом выстроена архитектоника концертного выступления артиста.Постепнное нагнетание психологического напряжения и сгущения эмоциональных красок происходит в первом отделении.Пост-вагнерианская нега Берга трансформируется в загадочную мистерию “Апассионаты”,чтобы последовательно вызревая во второй части взорватся в трагической коде финала ирреальным danse macabre {дорожка 4-7’04” и далее}.
В открываеющей вторую половину концерта пьесе Листа Эмар наделяет слушателей уникальным даром видения музыки.Перед глазами невольно встают воображаемые картины-настолько зрима игра пианиста.Подобный эффект достигается и в цикле ”Отражений” Дебюси .
Фантастически контрастно звучит соседство пьес Дебюси с аскетичной графикой “Пустых струн”Лигети.Сыгранный на бис “Ученик чародея” {а именно так переводится труднопроизносимое немецкое “Die Zauberlehring”}исполнен почти что Моцартовским brio,а “Первое причастие”
Оливье Мессиана источает таинственность сакрального действа.Напоминая своей феерической виртуозностью о французском юморе этюд Дебюси ставит финальную точку в концерте великолепного артиста. Концерт,состоявшийся в Нью-Йоркском Карнеги-Холл 3 декабря 2001 года явил всему миру Пьера-Лорана Эмара как одного из самых ярких пианистов нашего времени.

Дмитрий Ларош
13.01.2003, 12:14
http://images-eu.amazon.com/images/P/B00005Y359.03.MZZZZZZZ.jpgGabriel Faure:
Romance sans parole, op.17 no.3.Nocturne No.1, op.33 no.1
Nocturne No.3, op.33 no.3. Impromptu No.2, op.31
Nocturne No.6, op.63 Barcarolle No.1, op.26
Nocturne No.11, op.104 no.1 Nocturne No.13, op.119
Improvisation (from 8 Pi&ces Br&ves), op.84 no.5
Romance sans paroles, op.17 no.1 Prelude, op.103 no.2
Prelude, op.103 no.7 Ballade, op.19
Kun Woo Paik
Decca {Full} 470 246-2 {72:22} Rec.2001©2002

Творчество Габриэля Форе {1845-1924} относится к наиболее заметным проявлениям французской музыкальной культуры конца XIX-начала ХХ века.Относящиеся к постромантическому направлению музыкального искусства,сочинения Форе своими стилистическими новшествами предвосхищают находки французских импрессионистов.Вместе с тем от своих великих предшественников-Люлли,Куперена,Рамо-он унаследовал ясность мышления,яркость музыкального темперамента.Французский теоретик Жозеф де Марлиав писал:”…все то неповторимое и ценное,что свойственно гению нашего народа с необычайной полнотой проявляется в его собственном гении…”.
Творческое наследие Форе весьма разнообразно,однако наиболее полно его талант раскрылся в области камерной музыки.Многочисленные миниатюры композитора можно справедливо отнести к вершине салонной традиции романтической фортепианной музыки.Господствующая в сочинениях Форе изнеженная томность и рафинированная лирика по прошествии многих десятилетий звучит сегодня неожиданно свежо и эффектно.Вероятно,этим и обьямняется факт постоянного пополнения дискографии фортепианных опусов композитора.Среди наиболее заметных записей нельзя не отметить выдающуюся запись “Баллады” для фортепиано с оркестром от Эрла Уайльда {CHESKY CD93},экстравгантную подборку сольных сочинений от Жана-Марка Луизады.В 2002 году лейблом “Testament” были опубликованы архивные записи легендарной Жермен Тиссен-Валентен.Альбомы французской пианистки являются лучшим из доступных сегодня прочтений сочинений Форе.
Кан Ву Пэк принадлежитк числу самых примечательных пианистов нашего времени.Воспитанник Розины Левиной по Джулиардской школе в настоящее время живет в Париже.Среди дискографии Пэка особенно стоит выделить запись фортепианных транскрипций Ф.Бузони на фирме “Decca”,с которой у пианиста подписан эксклюзивный контракт.
Первое,что отмечаешь при прослушивании диска-завораживающе медленный темп,в котором Пэк исполняет миниатюры Форе.Еще больше удивляет то,что в таком медленном темпе пианисту удается сохранить ясность и логичную стройность формы.Дымчатый,словно затемненный тон рояля способствует созданию камерной интимной атмосферы “салона XXI века”.
Уникальна манера rubato Пэка-филигранно варьируя градации темпа,пианист достигает поистине волшебного результата.Особенно изощренно этот прием используется в изысканных “Ноктюрнах”,поражающих благородством и пианистическим совершенством.Интерпретация Пэка скурпулезно динамически выверена и максимально чувственна в тембровом колорите.Примемечательно,что подобные нюансы ни разу не вступают в противоречие с творческой волей композитора.Сегодня уже вполне очевидно,что альбом Пэка займет достойное место в дискографии фортепианных сочинений Форе.

Дмитрий Ларош
13.01.2003, 13:16
Britten: The Five Canticles and Folk song arrangements

Canticle I: My beloved Is Mine
Ian Bostridge (tenor)
Julius Drake (piano)
Canticle II: Abraham and Isaac
David Daniels (countertenor)
Ian Bostridge (tenor)
Julius Drake (piano)
Canticle III: Still Falls the Rain
Ian Bostridge (tenor)
Julius Drake (piano)
Timothy Brown (horn)
Canticle IV: Journey of the Magi
David Daniels (countertenor)
Ian Bostridge (tenor)
Christopher Maltman (baritone)
Julius Drake (piano)
Canticle V: The Death of Saint Narcissus
David Daniels (countertenor)
Ian Bostridge (tenor)
Aline Brewer (harp)

"The Plough Boy"
"The Salley Gardens"
"The Foggy, Foggy Dew"
Christopher Maltman (baritone)
Julius Drake (piano)
"There's none to soothe"
"O Waly, Waly"
David Daniels (countertenor)
Julius Drake (piano)
"The Ash Grove"
"Greensleeves"
Ian Bostridge (tenor)
Julius Drake (piano)

Virgin Classics



Britten's five Canticles tend to be grouped (and recorded) together, but they make an odd collection. They're not settings of the canticles of the Anglican liturgy (Te Deum, Magnificat and Nunc Dimittis), or even church works at all; while all five works deal with specifically Christian themes, they were written as concert music. The only thing they have in common other than religious subject matter is the involvement of a tenor soloist (originally Peter Pears, Britten's lifelong partner).

Abraham and Isaac is the most popular of the group: the scoring for alto and tenor soloists with piano is appealingly offbeat without being intimidating, and there's a na&ve, open-hearted strain in Britten's music that suits perfectly the simple, guileless medieval text of the Chester Mystery Play the composer chose to set — and that can be counted on to enchant an audience.

But the others are more difficult to get a handle on. Still Falls the Rain sets a complex (some call it convoluted) Edith Sitwell poem that attempts to link Christ's suffering and death with the horrors of the two World Wars; Britten gives the text a spiky, aggressively (for him) atonal setting with some writing for horn that can seem willfully ugly. Journey of the Magi and The Death of Saint Narcissus set particularly elliptical T. S. Eliot poems (the former never refers directly to the Nativity; the latter conflates the legend of Saint Sebastian's martyrdom with the myth of Narcissus) to music that seems to hover over tonality rather than settling on it. My Beloved Is Mine, whose text is a sort of allegorical love poem to Christ using the refrain "my beloved is mine and I am his" from the Song of Solomon as a launching point, is more sweetly lyrical though not much more tonal.

Making the Canticles attractive to an audience is all the more difficult because of the composer's own example. There are still plenty of people around who remember Britten and Pears in these works; recordings of their performances have been intermittently available. Pears, for all his undisputed artistry, had neither a beautiful voice nor particularly smooth delivery; his example has tended to lead subsequent performers to make this music more severe — less pretty — than it need be. The extraordinary thing about these performances by Ian Bostridge, Julius Drake and their colleagues is just how lovely they make these pieces sound — and, in doing so, how they escape the long shadow that Pears and Britten (as performers) inevitably cast.

Still Falls the Rain is a perfect example. Sitwell used the title phrase to begin each stanza, and Britten set the words to the same music each time, using it as a sort of refrain. Bostridge uses the repetition as an anchor for a piece whose meandering atonality can make it come totally unmoored for a listener; he sings it in his clearest, most beautiful timbre, making the phrase sad and poignant without seeming maudlin. He and Drake make the entire piece express profound sorrow rather than revulsion over the suffering war causes, while Timothy Brown plays the unflattering horn part about as appealingly as possible. Harpist Aline Brewer does similarly fine work in The Death of Saint Narcissus (which Britten wrote for harp because he was, at that point, too sick himself to perform at the piano with Pears); while it's a less forbidding work than Still Falls the Rain, she and Bostridge steer a clear course though its misty, somewhat diffuse harmonies. My Beloved Is Mine is even lovelier: Bostridge makes music and words alike seem quietly rapturous and wholly attractive in a way that neither Pears nor other singers such as Anthony Rolfe-Johnson ever managed.

One especially telling aspect of the performance is Bostridge's wondrously clear diction, a trait matched by his colleagues David Daniels and Christopher Maltman. They know that they're singing poetry of high quality, and they pace their delivery very well indeed — in fact, their timing is not so different from what a classically trained actor would use in a public reading. They even manage to make Britten's clumsy word repetitions in Journey of the Magi convincing.

If there's a weak point, it's Abraham and Isaac: while Bostridge and Daniels sing it well, their evident intelligence and their obviously adult vocal timbres make it difficult for a listener to connect with the text's naivet& and enter the piece's somewhat childlike world. (Notwithstanding all the praise Daniels has received for making the countertenor voice a presence at the highest levels of the opera and concert world, this is one work where some of his whiter-voiced colleagues, such as James Bowman and Michael Chance, have been more successful.)

In all five Canticles, Drake's contribution is crucial. He seems to reject an aggressive approach, even where some might argue that one would be appropriate. He looks for the sweetness and the color in each of the works; some critics might claim that he emasculates these scores, but by making them as beautiful as possible, he and his colleagues make it much easier for a listener to return to them time after time.

The disc ends with seven folk song arrangements, amiable little numbers that Britten put together for use at the end of the recitals he and Pears used to give together. Drake and the singers perform all of these with scrupulous diction, musicianship and intelligence. Maybe there's a little too much of each: these are simple songs and they lose a good bit of their charm when made to sound too artful. Mind you, no one here tries to turn "The Foggy, Foggy Dew" into Winterreise (a phenomenon not unknown among opera singers in recital), but they don't avoid this trap entirely. (Surprisingly, Bostridge, a famously brainy singer, does best with his sweetly straightforward performance of "The Ash Grove.") But that flaw is hardly fatal: indeed, it is the intelligence and artfulness of these gifted musicians — the qualities that seem to get in the way of the folk songs — that make this recording of the more difficult Canticles so much more attractive than any that have come before.

Очень рекомендую этот диск.

Дмитрий Ларош
13.01.2003, 13:18
Этот,кстати,тоже...



"The Noel Coward Songbook"

Coward:
"I Travel Alone"
"Parisian Pierrot"
"Poor Little Rich Girl"
"World Weary"
"Mary Make-Believe"
"A Room with a View"
"Dance Little Lady"
"If You Could Only Come With Me"
"I'll See You Again"
"Zigeuner"
"The Dream Is Over"
"Any Little Fish"
"Twentieth-Century Blues"
"Mad Dogs and Englishmen"
"Let's Say Goodbye"
"Something To Do With Spring"
"The Party's Over Now"
"Someday I'll Find You"
"Never Again"

Ian Bostridge (tenor)
Sophie Daneman (soprano)
Jeffrey Tate (piano)

EMI Classics


For a world that's on the verge of outliving firsthand memories of Noel Coward, time and attention is necessary to enter his urbane milieu. But such efforts are rewarded, especially by listening to Coward's own performances of his music. For all his lightness of manner and thinness of voice, he poetically chronicled the style, soul and courage of his times perhaps more any other British popular music figure of his day.

Now along comes Ian Bostridge, whose well-focused, richly colored tenor in "The Noel Coward Songbook" sets the songwriter's cause back years and years and years. This is not on purpose — Bostridge clearly loves the stuff, but in all the wrong ways. By giving Coward the art song treatment, Bostridge defeats, and even trivializes, the material.

Detachment and irony are important hallmarks of Coward's own performances. While that stance may not be the only way into his music, Bostridge's highly specific, word-by-word vocal coloring — arrived at after much deliberation, executed in meticulously sculpted tones and articulated with perfect BBC enunciation — have a caricaturing effect on the music. In songs like "Twentieth Century Blues" (whose music has more than a few nods to true blues) Bostridge brings affectation to unlistenably bizarre levels.

Even when Bostridge's approach should make sense, it doesn't. Pathos is the obvious interpretive choice in the opening song, "I Travel Alone," but when interpreted only on that level, the song is an embarrassing expression of self-pity. Even worse, but for different reasons, is "Poor Little Rich Girl," a warning against a superficial life danced to "a mad jazz pattern." Bostridge just doesn't trust the language to pull its expressive weight, and underscores that particular line with a frantically quick vibrato. Coward's own approach habitually lifts you up to his sophisticated world and make you feel part of it; with Bostridge, you can't help feeling talked —sung — down to.

In the more straightforward songs of love and longing, like "Let's Say Goodbye" or "I'll See You Again," you notice yet another essential ingredient that's missing with Bostridge: emotional dignity. Coward had it, and it allowed him to bare his soul while maintaining his sense of style. Bostridge is of the Edith Piaf school of emotionalism, and when that's heard here in such undiluted form, the airiness of Coward's music buckles under the weight.

The disc gets even worse as you realize Bostridge not only lacks humor but wit. Amid his show of verbal dexterity in "Mad Dogs and Englishmen," does he have any idea what the joke is? No, it's just another vocal problem to conquer with his maddeningly infallible aplomb.

Considering how many sub-genres Coward composed in, you'd think that Bostridge would, by law of averages, get one of them right. And he does — in "Someday I'll Find You," which shows Coward so deep in the sentimentality of operetta that the song's author might as well have been Victor Herbert.

In his role as pianist, Jeffrey Tate is guilty of enabling Bostridge. Tate's accompaniments are all surface and no essence, making the music seem so twee as to be positively remote. It's a bit like conducting early Verdi with an emphasis on the "oom-pah" elements rather than delving beneath them and asking what less hackneyed things the music is trying to convey.

In short, this recording should not in any way be mistaken for a Noel Coward experience. You can get far more of that from one chorus of gravel-voiced Elaine Stritch singing "Why do the Wrong People Travel" than from a full 64 minutes of Bostridge's mellifluous tenor.

A-Lex
13.01.2003, 19:24
Дмитрий,

Огромное спасибо за Ваши рецензии и ссылки. Упомянутые диски Куперена и Бриттена я уже купил (второй диск первоначально взял из-за Бостриджа), отслушал и полностью разделяю Ваш энтузиазм. Кун Ву Пэка не приобретал, так как купил недавно как раз Тиссен-Валентен с более полным собранием Ноктюрнов (предельно уточённо и благородно). Нужно ли всё-таки бежать за Пэком?

Дмитрий Ларош
13.01.2003, 21:00
Нужно ли всё-таки бежать за Пэком?

Я не бежал,а просто он мне под руку попался.Т.-В. гораздо более хорошо. :)

Рудольф
14.01.2003, 11:44
Дмитрий,
Огромное спасибо за Ваши рецензии и ссылки.
Полностью присоединяюсь к A-Lex'у. Дмитрий, если можно, не останавливайтесь, пожалуйста!

Дмитрий Ларош
14.01.2003, 11:52
угу.

Вот вечером разрекомендуюсь {deadline оказался продлен :) }

Дмитрий Ларош
17.01.2003, 18:40
Вот еще несколько рекомендаций-

почитал Граммофон,сравнил с услышанным

Дмитрий Ларош
17.01.2003, 18:42
Илья Муромец Глиэра (http://www.gramophone.co.uk/gramofilereview.asp?reviewID=0&mediaID=201816&type=edschoice)

Кстати,очень оригинальный опус.Мечтаю увидеть ноты.

Дмитрий Ларош
17.01.2003, 18:44
Tafelmusik Телемана от ансамбля Florilegium (http://www.gramophone.co.uk/gramofilereview.asp?reviewID=0&mediaID=201915&type=edschoice)

Дмитрий Ларош
17.01.2003, 18:46
Больше Арво Пярта на Virgin от Пааво Ярви (http://www.gramophone.co.uk/gramofilereview.asp?reviewID=0&mediaID=201717&type=edschoice)

Дмитрий Ларош
26.02.2003, 22:37
Реанимирую тему :)

http://www.deutschegrammophon.com/imgs/s150x150/453457.jpg

Beethoven Ludwig van (1770-1827)
Moonlight: Sonatas “Quasi una Fantasia”.
Piano sonata No. 13 Es-dur , op. 27 No. 1. Piano Sonata No. 14 cis-moll op. 27 No. 2 Piano Sonata No. 30 E-dur, op. 109.
Maria-Jo&o Pires, piano
Deutsche Grammophon (Full) 453 457-2 (50:58) Rec. 2000, 2001 ©2002

Каждый из альбомов обширной дискографии португальской пианистки Марии-Жоао Пиреш относится к тем явлениям в искусстве, что не несут в себе какой-либо особой художественной ценности, за исключением того чрезвычайного комфорта, который получает потребитель при прослушивании записи. Все острые музыкальные углы сглажены, каждой фразе и каждому такту придается неестественная красивость и эстетичность. Игра пианистки предсказуема, своей глянцевой обыденностью она словно бы и не требует пристального внимания. Выбор исполняемых сочинений в данном случае не имеет решающего значения- одинаково комфортен будет Шуберт и Лист, Моцарт и Бетховен. Пожалуй, особенно хороши у Пиреш исполненные какоим-то интимной субтильностью романтические миниатюры –акварельные Шопеновские ноктюрны (DG 447 096-2), трогательные “Музыкальные моменты” Шуберта.
Программа нового диска артистки обеспечила ему заочный успех-вечные музыкальные ценности клавирных сонат Бетховена, совершенный абсолют игры Пиреш и блестяще продуманная концептуальная основа (Пруст, Рильке, Гессе) дают тотальный бестселлер.
Музыка Бетховена звучит у Пиреш предсказуемо проникновенно и тонко, особенно там, где это особенно необходимо-в открывающей диск сонате Es-dur, лирических фрагментах сонаты № 30. Менее приятное впечатление оставляют Бетховенские энергетические всплески- явственно заметно, что в средней части и коде финала Тридцатой сонаты субтильный пианизм Пиреш дает явный сбой.
Рецензируемый содержит один весьма важный стратегический просчет. Наиболее уязвимым местом альбома остается сочинение, ради которого вероятно и задумывался весь проект- Соната op. 27 № 2, “в миру” известная как “Лунная”. Этот шедевр оказался явно не по силам хрупкой артистке. Финальная часть с ее кульминационной романтически-страстной эмоциональной бурей у Пиреш более напоминает шум прибоя в лунную португальскую ночь. Новый диск артистки- для настоящих романтиков и для ценителей душевного спокойствия.

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