+ ￥350 配送料
+ ￥350 配送料
Piano Concerto No. 3 / Concierto Magico
- Is Discontinued By Manufacturer : いいえ
- 製品サイズ : 12.7 x 14.61 x 1.14 cm; 99.22 g
- メーカー : Naxos
- EAN : 0747313503926
- オリジナル盤発売日 : 2001
- レーベル : Naxos
- ASIN : B00005MFGY
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 1,001,891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)
Here's a disc of contemporary works written between 1997 and 2000 that are bound to satisfy listeners who value modernism, as well as those who seek tuneful accessibility. For Spanish composer Leonardo Balada, who made his reputation with such uncompromising abstract works as the Steel Symphony, convincingly blends folk music and avant-garde compositional techniques. His Piano Concerto is rooted in the pasadoble of the bullfight arena, the sinuous music of North Africa, and the Aragonese dance the jota. It succeeds because Balada seamlessly manages the transitions from folk to contemporary sonorities and techniques. His orchestrations are wonderfully imaginative. At times in the Concierto Mágico, he transforms the orchestra into a giant guitar. At other times, the orchestra simulates the rhythmic handclapping of gypsies at a flamenco bash. Soloists are all outstanding, and Serebrier conducts with evident sympathy and enjoyment. Naxos has a real winner here. --Dan Davis
The third piano concerto (1997) strike me primarily as being a sequence of effects by which a sense of unity is achieved through immediately recognizable stylistic traits rather than anything resembling real development. At least it contains several fascinating elements, and it manages to retain the listener's interest throughout its three quirky, kaleidoscopic movements. The Concierto Mágico, Balada's fourth concerto for guitar and orchestra, has less to offer. As one expects from guitar concertos, it sets typically Spanish elements in an essentially classical framework. There are plenty of orchestral effects, of course, and plenty of busy, quarreling discussions between soloist and orchestra, but nothing adds up to anything.
The Music for Flute and Orchestra gives us more of the same; moderately intriguing orchestral effects, juxtapositions of busy passages and stretches of stasis, but little in terms of cumulative impact. The performances are, as mentioned, pretty excellent; Magdalena Martínez provides a lively rendition of the solo part in the Music for Flute & Orchestra, Eliot Fisk is an assured, resourceful soloist in the guitar concerto, and Rosa Torres-Pardo dispatches the solo part in the piano concerto with bravura, spirit, and seeming effortlessness. The Orquestra Simfonica de Barcelona I Nacional de Catalunya under José Serebrier impresses as well, with a broad palette of colors and generally vigorous (though refined) playing. Still, I am not sure they are able to convince me that this music in any way stands out from the crowd.