首頁CD古典協奏曲 〉傑若米羅斯演奏李斯特: 兩首鋼琴協奏曲/ 死之舞
商品訊息
作者書籍
傑若米羅斯演奏李斯特: 兩首鋼琴協奏曲/ 死之舞

傑若米羅斯演奏李斯特: 兩首鋼琴協奏曲/ 死之舞
Jerome Rose Plays Liszt: 2 Piano Concertos/ Totentanz


作者  /  傑若米.羅斯 Jerome Rose

出版社 / Video Artists International

出版日期 / 2011/05/04

商品語言 / 無

定價 / NT$549

售價 / NT$ 549 ※ 特價商品,不再折扣

※ 無庫存


傑若米羅斯演奏李斯特: 兩首鋼琴協奏曲/ 死之舞 其它優惠/消息


introduction all_character songlist


內容簡介

樂評家Steven J. Haller:簡單的說,這是示範級的演奏。--美國唱片指南,2003年7/8月號

鋼琴:傑若米‧羅斯Jerome Rose
塞坎尼Rico Saccani指揮布達佩斯愛樂
Budapest Philharmonic Orchestra
錄音:1993年
重發:2003年
原始發行:VOX
原廠:Medici Classics

樂評全文:
American Record Guide
July-August, 2003
by Steven J. Haller

This isn't new; it was recorded in 1993 and is listed in my seven-year-old Schwann as a Vox set coupled with the Transcendental Etudes (reviewed below). Jerome Rose has now started up his own label, Monarch Records(註:現更名為Medici Classics)and there's even a website where these recordings and others may be found. I'm sorry it took so long for me to make their acquaintance.

Certainly this is a much better account than the Artisie with Norman Krieger reviewed a couple issues back, though his Totentanz at least offers Rose some competition. Opening with the familiar Dies Irae plainchant in the stentorian horns, Rose at once compels attention with his command of the slashing chords and crisp glissandos, then settles down for a poetic statement of the theme in more lyrical guise. Through all the shifting moods that follow, Rose demonstrates an admirable flexibility and consummate skill, expertly fielding the trenchant diablerie. Yet I was most impressed with his deeply felt treatment of the pensive Variation 4, just as his whirlwind account of the ensuing fugue had me on the edge of my seat. All through the piece it is clear that conductor Saccani was of one mind with Rose, and I am pleased that for once Variation 6 resounding in the horns was not dragged out interminably, setting up the powerful closeout.

Likewise in the E-flat Concerto Rose gives a commanding account of the opening pages, with due respect to the maestoso marking, as sonorous as you could wish; yet phrasing seems quite ex tern pore just as it surely was with Liszt. In fact, I found it rather refreshing that even in a standard like this you could never be sure how he'd play out the next phrase--yet it is always at the service of the music, an illuminating treatment of the solo line. In the quasi adagio section, Rose is deeply affecting, allowing the music to unfold in timeless fashion; indeed, I could imagine Liszt at the keyboard, lost in thought and no doubt gently swaying from side to side. Rose nimbly traverses the fanciful allegretto vivace, yet exhibits an enchanting delicacy, bringing out the humor of the piece as if with tongue in cheek, with the aid of the insistent triangle. But it's clear from the return of the opening statement and the closing allegro marziale animato that Rose is not concerned merely with effect, even in this music that fairly cries out for such treatment; there's fire and flash aplenty, but there is weight as well, though even Rose can't resist that last sprint to the final bar.

The A-major Concerto is a far more reflective work that calls for a certain restraint, and the unhurried opening pages set the pace. Rose enters gently, reverently, yet without ever losing sight of the long line, soon joining with the solo cello in a rapt colloquy. As the music gathers in strength, Rose gives it the grand treatment, building to the bold and brassy climax some six minutes in. Yet clearly for Rose the emotional center of the concerto is the tempo del andante that follows, deeply felt and satisfying. With the return of the full orchestra (allegro deciso) the Budapest trombones go all out; and following a gratefully lyrical reading of the songful un poco meno mosso, Rose and the Hungarian players join forces for an effective close.

Given that the recording dates back some years, a trace of hardness in louder passages may be forgiven; and although the top end of the piano can be a mite clattery (as in the opening glissandos of Totentanz), the deep bass more than compensates. This is not a airing of the Liszt concertos that explores hidden meanings in every phrase like Richter or goes all out for visceral excitement like Janis; these are quite simply exemplary performances at a low cost that will make a splendid introduction to the music, and the excellent notes by Richard Freed are almost worth the price of admission.







詳細資料

誠品26碼 /2680578748009
ISBN 13 /0802210200221
ISBN 10 /2210200229
EAN /0802210200221

級別
語言


古典CD產品推薦

蕭邦: 第一號鋼琴協奏曲/ 四首敘事曲

趙成珍/ 諾賽達/ 倫敦交響樂團

NT$450

9折, NT$405

C.P.E.巴哈: 三首長笛協奏曲

帕胡德/ 平諾克/ 波茨坦室內樂學會管弦樂團

NT$450

9折, NT$405

傑米華爾頓演奏德弗札克, 舒曼大提琴協奏曲

傑米.華爾頓/ 阿胥肯納吉/ 愛樂管弦樂團

NT$499

NT$499

傑米華爾頓演奏蕭士塔高維契第1號, 華爾頓大提琴協奏曲

傑米.華爾頓/ 布里格/ 愛樂管弦樂團

NT$499

NT$499

傑米華爾頓演奏蕭士塔高維契第2號, 布列頓大提琴協奏曲

傑米.華爾頓/ 布里格/ 愛樂管弦樂團

NT$499

NT$499




Share/Save/Bookmark

查看全台書店有無此商品

 

本日最熱商品