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bis1822
Wydawnictwo: Bis
Nr katalogowy: BIS 1822
Nośnik: 1 CD
Data wydania: lipiec 2010
EAN: 7318590018224
62,00zł
na zamówienie
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Nasze kategorie wyszukiwania

Epoka muzyczna: współczesna, 20 wiek do 1960
Obszar (język): łotewski, niemiecki
Instrumenty: skrzypce
Rodzaj: koncert

Dvarionas / Korngold: Violin Concertos

Bis - BIS 1822
Wykonawcy
Vadim Gluzman, violin
Residentie Orkest Den Haag / Neeme Järvi
Nagrody i rekomendacje
 
Luister 10 Classicstoday.com 10/10
 
Korngold:
Concerto in D major for Violin and Orchestra, Op.35

Dvarionas:
Pezzo elegiaco ‘By the lake’ (1946–47)
Concerto in B minor for Violin and Orchestra (1948)
Vadim Gluzman and his Stradivarius violin have enraptured listeners on several discs previously released on BIS, including his acclaimed double-bill of Tchaikovsky’s and Glazunov’s violin concertos in 2008. That disc received a number of distinctions and caused the reviewer in Diapason to comment that ‘from the very first bars one is seduced by his extreme sensitivity and the freedom of his sound, and a playing which often calls up that of the great Russian virtuosos of the beginning of the 20th century.’ His colleague in Strad Magazine was in complete agreement, remarking on Gluzman’s ‘honeyed tone’ recreating ‘that innate Russian musicality of a previous generation...’ On the present disc Vadim Gluzman, with the eminent support of the Residentie Orkest Den Haag under Neeme Järvi, performs works for violin and orchestra composed in the three years following the end of World War II, by two composers whose fates were very different. Exiled from his native Austria, Erich Korngold became a celebrated composer of film music in Hollywood – and in his Violin Concerto in D major reused a number of themes from different films. Balys Dvarionas, on the other hand, is even today barely known outside his native Lithuania, even though his Violin Concerto in B minor was taken up by the legendary David Oistrakh. But the two men are united in their music’s heartfelt and unabashed romanticism – a romanticism which Vadim Gluzman is perfectly placed to convey.

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