Awards Diapason d'Or
This is a fascinating, thought-provoking coupling of two major late twentieth century additions to the violin repertoire. Those who possess Boulez' recording of Ligeti's Concertos (DG 439 808-2, with Saschko Gavriloff, who premiered the work, as violin soloist) may feel little need to obtain this new account. But there is a creative, symbiotic tension between Ligeti and Nørgard, which makes a complete play-through of this disc a compelling and rewarding experience.
This is a fascinating, thought-provoking coupling of two major late twentieth century additions to the violin repertoire. Those who possess Boulez' recording of Ligeti's Concertos (DG 439 808-2, with Saschko Gavriloff, who premiered the work, as violin soloist) may feel little need to obtain this new account. But there is a creative, symbiotic tension between Ligeti and Nørgard, which makes a complete play-through of this disc a compelling and rewarding experience.
Ligeti's Violin Concerto presents a fascinating, compulsive listening experience He effortlessly marries the long, Romantically expressive melody of the second movement with the post-Expressionist angst of the fifth and the cascading agility of the 'Intermezzo'. The use of ocarinas (they sound a little like recorders being over-blown by school children) in a chorale-like passage immediately conjures up the mutilated ghost of Berg in his Violin Concerto. Åstrand is fully up to all challenges (including the difficult cadenza).
Nørgård's evocative Concerto (1986/7) moves from the chamber music textures of its opening (heightened by the use of a piano) to later densely explosive textures. He exploits the technique of 'beating' (several instruments playing the same note but with slightly different tunings) to expressive effect, using the resolution of the beating as a means of articulating arrival points. Åstrand again stands up to the considerable demands placed upon her (again, in the cadenza she is a marvel). The Sonata, 'The Secret Melody' was originally composed in 1992 for viola as part of 'Libro per Nobuko', and this version for solo violin is sanctioned by the composer. This Sonata is no mere filler, but a work of substance that sustains the interest over its fifteen minute span. Åstrand is sweet-toned and committed throughout. --musicweb-international
Nørgård's evocative Concerto (1986/7) moves from the chamber music textures of its opening (heightened by the use of a piano) to later densely explosive textures. He exploits the technique of 'beating' (several instruments playing the same note but with slightly different tunings) to expressive effect, using the resolution of the beating as a means of articulating arrival points. Åstrand again stands up to the considerable demands placed upon her (again, in the cadenza she is a marvel). The Sonata, 'The Secret Melody' was originally composed in 1992 for viola as part of 'Libro per Nobuko', and this version for solo violin is sanctioned by the composer. This Sonata is no mere filler, but a work of substance that sustains the interest over its fifteen minute span. Åstrand is sweet-toned and committed throughout. --musicweb-international
MP3 HQ · 114 MB
3 comentarios:
http://www.mediafire.com/?yhlqecmxfnux02p
Thank you!
I enter this at my peril ;)
Thanks very much.
(Actually, I like Ligeti - where the Reichs and Rileys and Cages etc. go on - and on - Ligeti has something to say, however ineffable!)
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