Berg, Stravinsky: Violin Concertos / Perlman, Ozawa
- Is Discontinued By Manufacturer : いいえ
- 製品サイズ : 14.2 x 12.5 x 1.19 cm; 102.06 g
- メーカー : Deutsche Grammophon
- EAN : 0028944744521
- 製造元リファレンス : 028944744521
- オリジナル盤発売日 : 1996
- 時間 : 57 分
- SPARSコード : ADD
- レーベル : Deutsche Grammophon
- ASIN : B000001GQX
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 360,004位ミュージック (の売れ筋ランキングを見るミュージック)
Berg's Violin Concerto is atonal--yes, it's the "A" word, but you shouldn't let that keep you from getting to know this modern masterpiece; it's actually very listener-friendly. The music tells a story. The first movement is a character sketch of the young, flirtatious Manon Gropius, daughter of Alma Mahler and architect Walter Gropius. She died tragically of meningitis, and the second movement depicts the horrifying onset of her illness, her death, and her transfiguring apotheosis. Dedicated "to the memory of an angel," it's one of the most heartfelt and moving tributes imaginable. Stravinsky's much more abstract Violin Concerto is about being a violin concerto. Both works, modern classics, are exceptionally well played and recorded by Itzhak Perlman and Seiji Ozawa. Regarding Berg, this was a landmark recording of Perlman's both in his career as a performer and in the history of the work itself. For Perlman, generally perceived as a heart-on-sleeve traditionalist of the "old school," this venture into musical modernism confounded his detractors while at the same time introducing many new listeners to a work that, though difficult, has since come to be regarded as one of the touchstones of the Romantic concerto repertoire. Stravinsky's concerto is less controversial though no less well-played. In sum, these performances are landmarks in the Perlman discography. --David Hurwitz
The Concerto was the first which was written in the "12-tone row"; now this may be a turn-off to some but al it actually means is that it is based on first choosing a precise sequence of the 12 notes of the chromatic scale, called a "row" , which therefore replaces the 8-note scale. The opening presents the tone row immediately, using the opening strings of the violin (G, D, A, E) in an ascending sequence, which will recollect the life of Manon, gentle and innocent. The work is in two movements, the first being Andante-Allegretto, the second being Allegro-Adagio. The first movement depicts Manon as a carefree, dancing young girl, and the rhythm is indeed dance-like after the introduction. Then we hear a simple tune on a solo Horn, which is an old Carinthian folk song, but afterwards the movement comes to a sudden and somewhat abrupt close. The second movement begins with an explosion to Life, harsh, sounding initially like an accompanied cadenza for the violin, which protests, but an ominous succeeding rhythm rises to a brutal climax which culminates in what is obviously the death of Manon: this is the most "modernistic" part of the work, but then the concluding valedictory Adagio follows.
Here we have to understand that Berg discovered the last 4 notes of his tone row were identical to the first 4 notes of the J.S.Bach Cantata No 60: "Es ist gennig" ("It is enough") - thus a period of mourning for Manon. He borrows the theme, extends it to two variations, including two fragments of the Carinthian Folk Song in the previous movement, rising to an anguished climax, before the Concerto fades into silence with a brief recall of the opening of the entire work. The final bars are the most personal, uncertain where to go or what lies ahead, but settling to a most moving close of acceptance, beautifully scored. We may quote Hamlet: "The rest is silence".
By contrast, the Stravinsky Violin Concerto, which I did know, is great fun, a quirky part of his "Neo-Classical" period. Each of its 4 movements is prefaced by a strange string chord, which Stravinsky just sketched, and was deemed unplayable. However, the violinist Dushkin, who premiered the work, tried it out and found the opposite, so back it went. It's first appearance heralds a spirited and entertaining Toccata on the brass, with shades of "Dumbarton Oaks", The following 2 movements are entitled "Arias", one fast, the other slower (where the chord re-appears after the opening, a little way through) and more meditative. The Final movement is a Capriccio, which exactly complements the opening movement.
The final offering here, Ravel's "Tzigane", is a lightweight 9.5-minute piece, beginning with an over-long (4 minutes) solo cadenza, and then a Gypsy dance, beautifully orchestrated, but rather superficial. The piece was originally for piano and violin alone, but then Ravel orchestrated the piano part. I'm not sure what it is doing here, it rather savours of an encore for the soloist, Itzhak Perlman, but it does not fit with the previous two works: still, that is a personal opinion and perhaps a carp.
This CD is part of the "Great Recordings of the Century" set, digitally re-mastered: the recording is excellent, and Perlman/Ozawa & the Boston Symphony Orchestra are splendid partners (in the "Tzigane", it is Zubin Mehta/New York Philharmonic). The Berg was a revelation to me, as I hope it will be for you, and I cannot recommend this CD too highly.
Paired here with the neoclassical Stravinsky concerto (which at the time didn't quite rock my world the way the Berg did) with Ravel`s Tzigane as a space-filler, the whole album is now a familiar friend.
I am advised that the Mutter recording of the Stravinsky (paired with Lutoslawski) is the one to go for – not that this performance is in any way lacking; although there are many fine recordings of the Berg, this still stands as one of the best.
The soloist is of course the great Itzhak Perlman with The NY Philharmonic conducted by Zubin Mehta.
The CD has a playing time of 57.17 minutes.
Amazon have now stopped providing sound samples – a stupid and extremely inconvenient move for all prospective purchasers – I suggest searching YouTube or another music website for tracks from the album.