Symphonies Nos 1 & 4 Central Partk in the Dark Import
|価格:||￥ 2,314 通常配送無料 詳細|
フルフィルメントby Amazon™というサービスを利用している出品者の商品になります。これらの商品は、Amazonフルフィルメントセンターにて保管・管理され、Amazon.co.jpが商品の梱包、出荷、返品などを代行しています。フルフィルメントby Amazonの商品は、Amazon.co.jp が販売している商品と同様に国内配送料無料(条件あり)やAmazonプライム®の対象になります。
出品者は、フルフィルメント by Amazonを利用することで、Amazonの経験と専門性を出品者のビジネスに活用することができます。 プログラムに関する詳細
There are probably no more drastic examples of stylistic differences within one composer's symphonic output than those inherent in Charles Ives's 1st and 4th. The 1st is a piece of pure late Romanticism; it reminds the listener of both Dvorak and Tchaikovsky, but with some odd harmonic surprises. It has fine tunes and witty turns of orchestration; the second movement features a cor anglais and the scherzo is a quick, graceful canon; the finale is great energetic fun. The 4th Symphony is very difficult (it symbolizes the Pilgrim's quest for the spirit). It requires a second conductor to lead a bevy of strings and harp, presumably placed offstage or in a balcony. The magical opening prelude introduces a choir singing a hymn; the second movement, marked "Comedy," is a tangle of dissonances and musical ideas in which march music, the sound of trains and hymns overlap; the third movement, a lovely fugue, is a respite from the craziness of the 3rd; and the finale mixes sounds that seem distant and very near, with a chorus wordlessly singing "Nearer my God to Thee." It is a grand, spiritual sound. A bonus on the CD is the composer's "Central Park in the Dark," which is evocative of the strange whooshing of trees and the eeriness of a vast piece of nature in the midst of a metropolis. Ives is for the curious, and these great performances convince and fascinate. --Robert Levine
LIVE RECORDING. The 20 page booklet states that the Litton recording is a live recording. But there is no need to worry. There are no discernable sounds from the audience. Very fortunately there is no sound of applause whatsoever, anywhere on this wonderful disc.
COMPARING TIMINGS THE LITTON RECORDING WITH THE SEREBRIER RECORDING. This discloses the timings for each of the four movements. Thus, it is the case that for two of the movements, the Litton version is a bit swifter. But note that comparing timing is a very primitive way of doing a music review, and is not likely to reveal anything of substance.
Movement No. 1. 3:12 (Serebrier); 3:14 (Litton)
Movement No. 2. 11:19 (Serebrier); 10:52 (Litton)
Movement No. 3. 9:16 (Serebrier); 8:01 (Litton)
Movement No. 4. 8:45 (Serebrier); 8:45 (Litton)
COMPARING FIRST FIVE MINUTES OF MOVEMENT No. 2, OF LITTON AND SEREBRIER RECORDINGS. There are some distinct differences. While I am disappointed by the fact that the Litton recording omits the clowning clarinets, I still suggest that Amazon customers purchase both recordings, in view of the fact that the Litton recording reveals nuances that are buried in the Serebrier version.
Starting out. The piano tinkles in the background. The piano is somewhat overshadowed by murmurings from the strings and by an indistinct solo from what appears to be French horn. In the first 20 seconds of the Serebrier version, the clarinets on four occasions provide a 4-note riff of four descending notes. But these clarinets cannot be heard on the Litton version. In the Litton version, the French horn solo is more pronounced. In the Litton version, the first thing you hear is a cymbal played with a soft mallet, but this cymbal does not exist in the Serebrier version. The initial noodling from the piano is more pronounced in the Litton version.
At 27 seconds, begins night-music. The night-music takes the form of plaintiff sound of whining or whimpering. Please also note that Bela Bartok made use of night music in some of his compositions. The piano tinkling that overlays the plaintiff strings is more pronounced in the Litton version.
At 1 min, 10 sec comes a very loud piano riff, lasting for a few seconds, followed by resumption of the whimpering strings. Piano tinkling then occurs in the highest register.
At 1 min, 38 seconds comes a distinct riff from what appears to be a string quartet, and this is accompanied by piano. The piano and the strings are right out in front in the Litton version, but in the Serebrier version, the piano and strings seem buried under other sounds from the rest of the orchestra.
At 2 min, 25 sec comes a brief shrieking toot motif from the flutes, followed by a short brass fanfare.
Then at 2 min, 55 sec, comes a repeated regurgitating barf-motif. The regurgitating barf-motif is repeated a few times.
At 3 min, 20 seconds begins another night music episode.
At 4 min, 30 seconds in the Serebrier version one hears a memorable clownish duet from the clarinets. The pair of clowning clarinets continue with their deranged hiccoughing antics for several moments. Strangely enough, the clowning clarinets do not exist in the Litton version. Why is this? I have no idea. In place of the clowning clarinets, the Litton version provides a piano part, where the piano is not super-distinct and instead is merged with the rest of the orchestra.
Okay, that is all I need to say. Both recordings are superb, in terms of the sound engineering, and also in terms of the musicality, e.g., how well the music seems to flow along.
Litton responds just as naturally to the more rarified philosophy and technical challenges of the Fourth Symphony. This is an excellent performance that stands with the best. However, this is a work that should be heard from different perspectives. Some listeners may feel more sympathy with the hotly transcendent Tilson Thomas performance, and the old Stokowski is still a must-hear. But Litton, too, is a must-hear that finds the mystery of this complex work.
Hyperion's SACD surround-sound is far and away the best recording these two works have received to date. The sound stage is well-defined and has realistic space around it. The sound has bloom and warmth, yet the incredibly dense layers of the 4th Symphony's second movement are still clearly defined. The audiences from these live performances were extremely quiet and well-behaved and do not intrude at all.