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11-01-2013, 03:43 AM
B�la Bart�k - The 2 Violin Concertos (2010, FLAC)
(http://imageshack.us/photo/my-images/837/4rue.jpg/)
B�la Bart�k - The 2 Violin Concertos
Orchestre de la Suisse Romande / Arabella Steinbacher / Marek Janowski
Tracklist:
1 Violinkonzert Nr. 2 (1938) - I. Allegro non troppo 16:39
2 Violinkonzert Nr. 2 (1938) - II. Andante tranquillo 10:35
3 Violinkonzert Nr. 2 (1938) - III. Allegro molto 12:35
4 Violinkonzert Nr. 1 (1907-08) - I. Andante sostenuto 9:18
5 Violinkonzert Nr. 1 (1907-08) - II. Allegro giocoso 12:04
Recording venue: Victoria Hall, Geneva, Switzerland (June/July, 2009)
https://mega.co.nz/#!yt5HXIxB!QiQ8qQQVbOmwn6SZuZh63wHPiu5Ukw5k_ZIjgpQ n9dw
---------- Post added at 02:43 AM ---------- Previous post was at 02:42 AM ----------
For her second concerto recording for the PentaTone label, Arabella Steinbacher moves from Berlin to Geneva for this most welcome coupling of the two Bartok Violin Concertos, presented on this disc in the order of their first performance dates rather than that of composition.
The 1st Concerto ‘Op. Posth.’ would have been Op.5 in Bartok’s catalogue if the composer had not put it to one side following the end of his relationship with the young violinist Stefi Geyer for whom the work was originally intended. Eventually Bartok gave the score to Geyer, but the work was never played publicly during either of their lifetimes and it had to wait until 1958 to receive its first performance. Bartok, however, did use the opening movement of the concerto, virtually unaltered, for the first of his ‘Two Portraits for Orchestra Op.5’ in which form it will be familiar to many listeners.
Arabella Steinbacher gives an impassioned performance of the richly romantic opening movement with impeccable legato playing and unfailingly lustrous tone, and she manages to communicate to the listener an awareness of the very personal nature of this music. She is in her element in the fireworks of the following ‘Allegro giocoso’, displaying thrilling virtuosic bravura. The accompaniment from the Orchestre de la Suisse Romande under Marek Janowski is most sympathetic, demonstrating considerable rapport with the soloist as well as fine individual playing from members of the orchestra. One does, however, occasionally miss the more idiomatic and rustic sound of the Hungarian National Orchestra on their recording of this work Bartok: Rhapsody, Scherzo, Violin Concerto No. 1 - Fischer, Kocsis.
Steinbacher’s strong muscular style is even more suited to the main work on the disc, the 2nd Violin Concerto of 1938 written for Zolt�n Sz�kely, here receiving its first outing on SACD. This concerto has had many fine recordings over the years, including those by Ivry Gitlis (one of Arabella Steinbacher’s mentors), Isaac Stern, Yehudi Menuhin, Kyung-Wha Chung and more recently Gil Shahan and Thomas Zehetmair, to which this compelling account can now be added.
The tempi for each of the three movements on this new recording are expansive, allowing each part of the musical argument to make its point, but nowhere is forward momentum impeded. Throughout both the first movement and the finale Steinbacher’s performance is a winning combination of fiery virtuosity and soaring lyricism. She relishes the challenges of the first movement cadenza, its formidable difficulties surmounted with ease, thanks to her total technical mastery of her instrument.
The theme and six free-style variations that constitute the ‘Andante tranquillo’ perfectly illustrate Steinbacher’s wide expressive range. Mesmerising introspective playing permeates the first two variations while a steely toughness emerges in the gritty exchanges with the brass and timpani (Var.3). These qualities contrast with the gossamer lightness and exuberance of her playing (Var. 5 and 6) and a touching tenderness at the re-statement of the main theme as the movement fades to a whisper. Judged by any standards, this whole movement is a demonstration of Steinbacher’s outstanding interpretive intelligence.
The contribution of Janowski and the orchestra to this performance also deserves special praise. The OSR brass is incisive (try 1st Mov. 9’.15”-9’.45”) and both the strings and wind, particularly the mellifluous first bassoon, are impressive while the percussion section is alert and crisp throughout. Janowski’s long experience and skill as an accompanist is self-evident.
Many of the earlier recordings of this work, including some of those mentioned above, give undue prominence to the soloist, resulting in the obscuring of orchestral detail and masking of important counter melodies. PentaTone’s magnificent multi-channel recording, engineered by the familiar Polyhymnia team of Job Maarse, Erdo Groot and Roger de Schot, avoids this trap and ensures that every section of the orchestral score is presented with outstanding clarity. The sound stage is wide with just the right amount of the ambience of the Victoria Hall, Geneva present to add an extra bloom to the overall sound.
Arabella Steinbacher’s previous recordings of 20th century violin concertos have garnered worldwide praise and this latest one should further enhance the reputation of this young and exceptionally gifted musician. Very highly recommended.
Copyright � 2010 Graham Williams and SA-CD.net
(http://imageshack.us/photo/my-images/837/4rue.jpg/)
B�la Bart�k - The 2 Violin Concertos
Orchestre de la Suisse Romande / Arabella Steinbacher / Marek Janowski
Tracklist:
1 Violinkonzert Nr. 2 (1938) - I. Allegro non troppo 16:39
2 Violinkonzert Nr. 2 (1938) - II. Andante tranquillo 10:35
3 Violinkonzert Nr. 2 (1938) - III. Allegro molto 12:35
4 Violinkonzert Nr. 1 (1907-08) - I. Andante sostenuto 9:18
5 Violinkonzert Nr. 1 (1907-08) - II. Allegro giocoso 12:04
Recording venue: Victoria Hall, Geneva, Switzerland (June/July, 2009)
https://mega.co.nz/#!yt5HXIxB!QiQ8qQQVbOmwn6SZuZh63wHPiu5Ukw5k_ZIjgpQ n9dw
---------- Post added at 02:43 AM ---------- Previous post was at 02:42 AM ----------
For her second concerto recording for the PentaTone label, Arabella Steinbacher moves from Berlin to Geneva for this most welcome coupling of the two Bartok Violin Concertos, presented on this disc in the order of their first performance dates rather than that of composition.
The 1st Concerto ‘Op. Posth.’ would have been Op.5 in Bartok’s catalogue if the composer had not put it to one side following the end of his relationship with the young violinist Stefi Geyer for whom the work was originally intended. Eventually Bartok gave the score to Geyer, but the work was never played publicly during either of their lifetimes and it had to wait until 1958 to receive its first performance. Bartok, however, did use the opening movement of the concerto, virtually unaltered, for the first of his ‘Two Portraits for Orchestra Op.5’ in which form it will be familiar to many listeners.
Arabella Steinbacher gives an impassioned performance of the richly romantic opening movement with impeccable legato playing and unfailingly lustrous tone, and she manages to communicate to the listener an awareness of the very personal nature of this music. She is in her element in the fireworks of the following ‘Allegro giocoso’, displaying thrilling virtuosic bravura. The accompaniment from the Orchestre de la Suisse Romande under Marek Janowski is most sympathetic, demonstrating considerable rapport with the soloist as well as fine individual playing from members of the orchestra. One does, however, occasionally miss the more idiomatic and rustic sound of the Hungarian National Orchestra on their recording of this work Bartok: Rhapsody, Scherzo, Violin Concerto No. 1 - Fischer, Kocsis.
Steinbacher’s strong muscular style is even more suited to the main work on the disc, the 2nd Violin Concerto of 1938 written for Zolt�n Sz�kely, here receiving its first outing on SACD. This concerto has had many fine recordings over the years, including those by Ivry Gitlis (one of Arabella Steinbacher’s mentors), Isaac Stern, Yehudi Menuhin, Kyung-Wha Chung and more recently Gil Shahan and Thomas Zehetmair, to which this compelling account can now be added.
The tempi for each of the three movements on this new recording are expansive, allowing each part of the musical argument to make its point, but nowhere is forward momentum impeded. Throughout both the first movement and the finale Steinbacher’s performance is a winning combination of fiery virtuosity and soaring lyricism. She relishes the challenges of the first movement cadenza, its formidable difficulties surmounted with ease, thanks to her total technical mastery of her instrument.
The theme and six free-style variations that constitute the ‘Andante tranquillo’ perfectly illustrate Steinbacher’s wide expressive range. Mesmerising introspective playing permeates the first two variations while a steely toughness emerges in the gritty exchanges with the brass and timpani (Var.3). These qualities contrast with the gossamer lightness and exuberance of her playing (Var. 5 and 6) and a touching tenderness at the re-statement of the main theme as the movement fades to a whisper. Judged by any standards, this whole movement is a demonstration of Steinbacher’s outstanding interpretive intelligence.
The contribution of Janowski and the orchestra to this performance also deserves special praise. The OSR brass is incisive (try 1st Mov. 9’.15”-9’.45”) and both the strings and wind, particularly the mellifluous first bassoon, are impressive while the percussion section is alert and crisp throughout. Janowski’s long experience and skill as an accompanist is self-evident.
Many of the earlier recordings of this work, including some of those mentioned above, give undue prominence to the soloist, resulting in the obscuring of orchestral detail and masking of important counter melodies. PentaTone’s magnificent multi-channel recording, engineered by the familiar Polyhymnia team of Job Maarse, Erdo Groot and Roger de Schot, avoids this trap and ensures that every section of the orchestral score is presented with outstanding clarity. The sound stage is wide with just the right amount of the ambience of the Victoria Hall, Geneva present to add an extra bloom to the overall sound.
Arabella Steinbacher’s previous recordings of 20th century violin concertos have garnered worldwide praise and this latest one should further enhance the reputation of this young and exceptionally gifted musician. Very highly recommended.
Copyright � 2010 Graham Williams and SA-CD.net