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Wednesday, December 14, 2016

Dmitri Kabalevsky; Alexander Glazunov - Violin Concertos (Gil Shaham; Mikhail Pletnev)


Information

Composer: Dmitri Kabalevsky; Alexander Glazunov
  1. Glazunov - Violin Concerto in A minor, Op. 82: 1. Moderato
  2. Glazunov - Violin Concerto in A minor, Op. 82: 2. Andante
  3. Glazunov - Violin Concerto in A minor, Op. 82: 3. Allegro
  4. Kabalevsky - Violin Concerto in C major, Op. 48: 1. Allegro molto e con brio
  5. Kabalevsky - Violin Concerto in C major, Op. 48: 2. Andantino cantabile
  6. Kabalevsky - Violin Concerto in C major, Op. 48: 3. Vivace giocoso
  7. Tchaikovsky - Souvenir d'un lieu cher, Op. 42 (orch. Glazunov): 1. Méditation in D minor
  8. Tchaikovsky - Souvenir d'un lieu cher, Op. 42 (orch. Glazunov): 2. Scherzo in C minor
  9. Tchaikovsky - Souvenir d'un lieu cher, Op. 42 (orch. Glazunov): 3. Mélodie in E flat major
  10. Tchaikovsky - Valse-Scherzo, Op. 34

Gil Shaham, violin
Russian National Orchestra
Mikhail Pletnev, conductor

Date: 1996
Label: Deutsche Grammophon
http://www.deutschegrammophon.com/en/cat/4570642


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Review

Easily the most substantial work in this enjoyably light-hearted programme is the Glazunov Violin Concerto, still generally undervalued because of its conservative idiom. Not that Shaham's account is in any way radical. After Maxim Vengerov's intense and penetrating Teldec version, Shaham's sounds relaxed and smoochy, his warm-toned instrument set somewhat closer than the orchestra in the wide open spaces of the Great Hall of the Moscow Conservatory. The generous romantic manner almost but not quite conceals a few moments of suspect intonation that Jascha Heifetz would never have passed.

Unlike the Glazunov, Kabalevsky's work is in three separate, small-scale movements. One of his 'youth' concertos, it dates from 1948, the year in which most of his peer group faced ideological censure. It isn't great music, and yet there is a natural, unforced quality about its invention that stands up well enough. The slow movement is memorable (despite its casual appropriation of the 'wind in the graveyard' effect from Prokofiev's First Violin Sonata) and the watered-down Prokofiev of the rest is by no means unattractive. The orchestral playing here is impressively clean and often radiantly beautiful. The Tchai.kovsky Souvenir dun lieu cher is heard in Glazunov's orchestration and the Valse-scherzo wraps things up in skittering, suitably dazzling fashion. Although room might have been found for something more, one can see why this was felt to be the right item with which to close. Heard live, such a performance would bring the house down.

More reviews:
BBC Music Magazine PERFORMANCE: **** / SOUND: *****


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Dmitri Kabalevsky (30 December [O.S. 17 December] 1904 – 14 February 1987) was a Russian composer. He helped to set up the Union of Soviet Composers in Moscow and remained one of its leading figures. He was a prolific composer of piano music and chamber music; many of his piano works have been performed by Vladimir Horowitz. Kabalevsky wrote for all musical genres and was consistently faithful to the ideals of socialist realism. In Russia, Kabalevsky is most noted for his vocal songs, cantatas, and operas while overseas he is known for his orchestral music.
http://en.wikipedia.org/wiki/Dmitry_Kabalevsky

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Alexander Glazunov (10 August 1865 – 21 March 1936) was a Russian composer of the late Russian Romantic period, music teacher and conductor of the late Russian Romantic period. Glazunov was significant in that he successfully reconciled nationalism and cosmopolitanism in Russian music. While he was the direct successor to Balakirev's nationalism, he tended more towards Borodin's epic grandeur while absorbing a number of other influences. These included Rimsky-Korsakov's orchestral virtuosity, Tchaikovsky's lyricism and Taneyev's contrapuntal skill.
http://en.wikipedia.org/wiki/Alexander_Glazunov

***

Gil Shaham (born February 19, 1971 in Urbana, Illinois) is an American violinist of Jewish descent. He studied at  the Aspen Music School in Colorado with Dorothy DeLay and Jens Ellermann. His playing is marked by a warm, flowing tone allied with a strong and comprehensive technique. His seriousness as a musician has made him a favored partner for many of the world's leading conductors, and other instrumentalists have been eager to collaborate with him in chamber music performances. Shaham plays a Stradivarius violin from the "long pattern" period, the "Comtesse de Polignac" of 1699.
https://en.wikipedia.org/wiki/Gil_Shaham
http://www.allmusic.com/artist/gil-shaham-mn0000687597/biography

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6 comments:

  1. This comment has been removed by the author.

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  2. MUCHAS GRACIAS !!! … Merci! Thank you! Obrigado! Спасибо! !ありがう! Arigato! Danke! Dziękuję! Dank je u! Mulţumesc! Teşekkür ederim! Tack! Tack så mycket! Grazie! Kiitos! תודה לך! Takk! Dakujem,ďakujem vám! Hvala! شكراً!shokran! Ευχαριστώ! 감사합니다! Děkuji! Tak skal du have! Dankon! Hvala! Najlepša hvala! Gràcies! Faleminderit! Ačiū! De’koju! Labai ačiū! ขอบคุณ! Shukrīya! بہت) شكريه (bahut)! Cảm ơn cô! Cảm ơn cô nhiều! Благодаря! Þakka þér! Baie dankie! Takk fyri! Sipas dekem! متشکرم! Благодарам! Təşəkkür! Paldies! Pateicos! Tencinu! Terima kasih! Дуже дякую! Спасибі! Баярлалаа! Гялайлаа! Танд их баярлалаа! Terima kasih! ধন্যবাদ (dhonyobād)! Salamat! Trugarez!

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  4. Hello Ronald,

    your quote from Wikipedia in Glazunov's biography is not quite correct and makes for awkward reading.

    Regards, Jaap.

    ReplyDelete
  5. Hello Ronald,

    your quote from Wikipedia in Glazunov's biography is not quite correct and makes for awkward reading.

    Regards, Jaap.

    ReplyDelete
  6. Hello Ronald,

    your quote from Wikipedia in Glazunov's biography is not quite correct and makes for awkward reading.

    Regards, Jaap.

    ReplyDelete