Mostrando postagens com marcador Elmar Oliveira. Mostrar todas as postagens
Mostrando postagens com marcador Elmar Oliveira. Mostrar todas as postagens

12.2.22

RAUTAVAARA : 12 Concertos (2009) 4xCD BOX-SET / FLAC (tracks+.cue), lossless

This four-disc Ondine set collects the complete concertos of Einojuhani Rautavaara. While these 12 works may not make the best argument for the Finnish post-modernist's status as a great composer -- his eight symphonies surely make good that claim -- they certainly make the best argument for his status as an amazingly effective, astoundingly diverse, and wonderfully individualistic composer. The works themselves are all from Rautavaara's wide-ranging maturity. There are three piano concertos, one concerto each for violin, cello, double bass, flute, clarinet, organ, and harp, as well as a Ballad for harp and orchestra, plus the sui generic "Cantus Arcticus" for taped Artic bird songs and orchestra. Though the majority of the works are in three movements, each is unlike any other in conception and execution. From the megalomaniacal Piano Concerto No. 1 through the atmospheric Flute Concerto "Dances of the Winds" to the luminous Bass Concerto "Angel of Dusk," Rautavaara never repeats himself. Each work is superbly composed for its chosen soloist; the nearly Romantic Piano Concerto No. 3, "Gift of Dreams," written for Vladimir Ashkenazy, is a prime example. The soloists are always technically impressive, particularly Patrick Gallois' virtuosity on four separate flutes. They are also often emotionally compelling, especially Elmar Oliveira's seamless legato in the Tranquillo that opens the Violin Concerto. Recorded in cool, clear, deep, and very vivid digital sound, this set deserves to be heard by fans of the best of post-modernism. by James Leonard  

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31.12.20

BARBER : Adagio for Strings, Violin Concerto, Orchestral & Chamber Works (2001) 2xCD / FLAC (tracks), lossless

While not the best single set of the music of Samuel Barber ever recorded -- Thomas Schippers' mid-'60s recording with the New York Philharmonic will hold that title from now unto perpetuity -- this two-disc set of recordings by Leonard Slatkin and the St. Louis Symphony is still not to be missed by anyone who loves Barber's neo-Romantic music. Slatkin's approach to Barber is strongly emotional and powerfully dramatic. His stormy interpretations of Barber's three Essays for Orchestra make them sound like the American descendants of Brahms' Tragic Overture. His witty interpretation of the School for Scandal Overture makes it sound like latter-day Mendelssohn. His gaudy interpretation of the Medea's Dance of Vengeance sounds like latter-day Strauss. His singing, soaring, and swelling interpretation of the ever-popular Adagio for Strings makes it sound like latter-day Mahler. With the sweet-toned Elmar Oliveira, Slatkin's interpretation of Barber's Violin Concerto is achingly lyrical and eloquently affecting, making it sound like latter-day Tchaikovsky. While Schippers goes deeper and further into Barber's music, his recordings cannot be denied -- Schippers' Barber always sounded only like Barber -- Slatkin's recordings are still well worth hearing and, with the bonus recordings of chamber music and piano music by members of the New York Philharmonic, arguably more representative. EMI's early digital sound is a bit dry and recessed, but clean and clear. by James Leonard 

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ESBJÖRN SVENSSON TRIO — Winter In Venice (1997) FLAC (tracks+.cue), lossless

Esbjörn Svensson has stood not only once on stage in Montreux. He was already a guest in the summer of 1998 at the jazz festival on Lake Gen...