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Тема: Дирижер Гюнтер Хербиг (Guenther Herbig)

              
  1. #31

    По умолчанию Re: Дирижер Гюнтер Хербиг (Guenther Herbig)

    С каждым днем проникаюсь все большей любовью к имени Гюнтер. Как можно записать это прекраснейшее из имен? Если вы уже знакомы со скромным вариантом Gunther с умлаутом и без, и подумали о Guenther - для несчастной части человечества, обделенной двумя чудесными точечками, и , еще немного поразмышляв, нашли чистое и ясное имя Gunter - это можно расценить как полное отсутствие фантазии . Потому что есть еще Giinter и Giinther. слава изобретательности Gramophone.net.

    Две рецензии на записи п/у Giinter`a.

    Mendelssohn - Piano Concertos Ragna Schirmer - Saarbruecken Radio Symphony Orchestra, Guenther Herbig - Berlin Classics
    German pianist Ragna Schirmer has been quietly forging a recording career on Berlin Classics with repertoire ranging from Bach to Corigliano and Schnittke. And in Gunther Herbig she has an utterly empathetic conductor; the Saarbrticken RSO, however, sound slightly too hefty for this music to dance and whirl as it should. There is much stylish playing on offer from the soloist, with every note of Mendelssohn's figuration clear, and sensible tempi that ensure nothing ever sounds rushed.
    But since when was Mendelssohn's music ever "sensible"? His two concertos are among the most bewitching in the repertory — or at least they can be in truly great performances, such as those by Howard Shelley. Stephen Hough is impressive, too, for his detailed approach to the music, but relistening to Jean-Yves Thibaudet I was struck by a lack of charm, though his daring tempi are undeniably exciting.
    Temperamentally, Schirmer seems more attuned to the First Concerto than the dramatic rhetoric of the darker Second, which in her hands is a touch understated. But both her slow movements display plenty of sensitivity, even if she doesn't find the same degree of Mozartian delicacy as Shelley (who directs from the keyboard — maybe this has something to do with it).
    The additional works for piano and orchestra are a handy bonus, though her slow introductions to the Capriccio brillant and the Serenade are on the stolid side. The recording places the piano in a realistic sound-picture within the orchestra but ultimately this new version can't compete with the finest on offer.
    Harriet Smith


    http://www.gramophone.net/Issue/Page...59/Mendelssohn

    Shostakovich
    Symphony No 4
    Saarbruecken Radio Symphony Orchestra / Guenther Herbig Berlin Classics 0 001611-2BC (64' • DDD) Recorded live
    Shostakovich
    Symphony No 10 Saarbruecken Radio Symphony Orchestra /
    Guenther Herbig Berlin Classics 001615-2BC (64' • ODD) Recorded live

    Finely delivered, powerful Shostakovich though undermined by the flaws
    Had Karajan turned his attentions to Shostakovich's Fourth Symphony, the results might have come out rather as they do here. That is not intended as a back-handed compliment.
    What I mean is that Herbig posseses the rare kind of comprehensiveness of musical vision that
    Karajan at his best brought to Shostakovich (at least in his classic 1966 version of the Tenth Symphony). So this Fourth is full-powered without ever being hysterical, forceful but never forced. It is superbly paced, with a fine sense of growth that in no way precludes vividness of point-to-point narration, and avoiding the structural miscalculations that mar the accounts of notable interpreters such as Gergiev and Rostropovich.
    The principal drawback is that the Saarbruecken strings are over-faced by the whirlwind fugue at the heart of the first movement, which lacks both precision and weight. In the concert hall this would not be fatal. But for a recording, the knowledge that this crucial phase is going to be a let-down is a disincentive to rehearing, whatever the qualities of the rest. I should still stress that there is very little else in this live performance that betrays the presence of a less than top-class orchestra, and the recording quality is very fine indeed, enabling Herbig's care for blend and balance — and therefore the full power of Shostakovich's harmonic thought — to register to the full.
    Much the same may be said of the Tenth Symphony. The first movement is magnificent in its architectural conception, at least as far as the recapitulation whose early stages are a fraction stodgy; and though the second movement clocks in at a solid, unflashy , it is properly irascible and inexorable. Unfortunately Herbig then decides to double the first of the famous solo horn calls in the third movement. Perhaps the idea is to take the pressure off the first horn player and to ensure a noble rather than strident timbre, but in fact all he guarantees is a small but in effect glaring discrepancy of intonation, proving that Shostakovich knew exactly what he was doing. Once again, this is far more than a momentary blemish, since it affects one of the music's crucial load-bearing beams. Why the phrase was not patched, as the conclusion obviously is in order to avoid applause, escapes me.
    Two tantalising discs, then, from a conductor whose achievements in general are much underrated. Both are finely recorded; and the bookletnotes, though woefully ill-informed, may be useful to some readers for their footnoted references to German-language writings.
    David Fanning
    http://www.gramophone.net/Issue/Page...o+Shostakovich

    Послушать Мендельсона он-лайн можно тут
    Последний раз редактировалось 9999; 22.08.2012 в 18:57.

  • #32

    По умолчанию Re: Дирижер Гюнтер Хербиг (Guenther Herbig)

    Dmitrij Schostakowitsch
    Sinfonie Nr. 10 e-Moll op. 93 (53:16)

    Deutsche Radio Philharmonie Saarbrucken Kaiserslautern
    Dir.: Gunther Herbig

    Congresshalle in Saarbrucken, 12. Januar 2014

    DVB-S mp3/320kbps (SWR2)


    тут

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