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Svoboda : Orchestral Works

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Détails sur le produit

  • Interprète: James DePreist, Niel DePonte, Oregon Symphony
  • Compositeur: Tomás Svoboda
  • CD (1 mars 2005)
  • Nombre de disques: 1
  • Label: Albany Records
  • ASIN : B0000AQS7U
  • Classement des meilleures ventes d'Amazon: 712.698 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

Tomas Svoboda : Overture of the Season, Op. 89 - Symphony No. 1, Op. 20 - Concerto for Marimba and Orchetra, Op. 148

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15 internautes sur 16 ont trouvé ce commentaire utile 
A Winner! 6 septembre 2003
Par J Scott Morrison - Publié sur Amazon.com
One of the joys of reviewing lots of classical CDs is the discovery of excellent music by composers one never heard of. That's the case here. Tomas Svoboda (b. 1939) was born in Paris of Czech parents, spent his early childhood in Boston, but returned to Czechoslovakia with his parents after the War and was admitted to the Prague Conservatory in 1954. He returned to the US in 1964, studied with Halsey Stevens and Ingolf Dahl at USC and for many years has been professor of composition at the Portland State University, retiring in the late 1990s. It is fitting that this program of his orchestral music is played by the Oregon Symphony under its long-time conductor, James DePreist. And brilliantly played it is.
All of the music here is immediately attractive, written in a kind of tonal neo-classic style melded with the assymetric rhythms often associated with the followers of Stravinsky. None of the musical language is more advanced than, say, Bartok's 'Concerto for Orchestra.'
The earliest piece, and in its way the most astonishing, is the Symphony No. 1, written and premiered in Prague under Vaclav Smetacek when the composer was a boy of sixteen. It is a stunningly assured four-movement piece of large proportions lasting 36 minutes with only occasional moments of clumsiness. It is rhythmically alive, uses some Czech folk materials, but at moments has the sound of America's wide open spaces a la Aaron Copland, fitting because the symphony is subtitled 'Of Nature.'
The most recent piece here is the Concerto for Marimba, written in 1993 for Oregon Symphony percussionist Niel DePonte, the expert soloist here. The concerto is a three-movement (Slow-Fast-Slow) work lasting about 26 minutes. The orchestration is masterful and inventive. A five-instrument 'keyboard' group consisting of piano, harp, celesta, orchestra bells and crotales placed on the stage close to the marimba soloist contribute shimmering and jazzy effects.
The opening piece on the CD is reported to be Svoboda's most-played piece. Entitled 'Overture of the Season,' it was written in 1978 and, again, premiered by the Oregon Symphony. It is an infectious celebratory 9-minute romp that introduced by raffish brass, often playing in the overlapping medodic lines made familiar by composers like Glass and Reich, but it has harmonic richness that mark it as something more than minimalist. Its rhythms are as catchy as they are complex. Its energy is a perfect concert opener and it is played by the Oregon Symphony with all the panache the score requires.
I am delighted to make the acquaintance of the music of Tomas Svoboda and will look for more to investigate. I understand that there are recordings of two piano concertos, one of them by the composer, himself a fine pianist and listed as one of the orchestral keyboardists for the present recording.
Heartily recommended.
Scott Morrison
2 internautes sur 2 ont trouvé ce commentaire utile 
One of my favorite CDs 15 janvier 2012
Par LeMoor - Publié sur Amazon.com
Amazing, clean, full bodied sounds. This is modern classical at its best. No other composer has a sound like this. The 1st symphony was written when Svoboda was only 16. Prodegy master. Worth the purchase
1 internautes sur 17 ont trouvé ce commentaire utile 
UGLY NOISE!!! 17 avril 2009
Par Camil Moujaber - Publié sur Amazon.com
How can one appreciate this type of "music"? Neo-classical it is called? Humans created music to express all kinds of feelings, or to paint a landscape with soothing, positively exiting or relaxing sound! How can one enjoy this irritating noise, that will keep him on the edge of his seat? That will eventually turn him into a nervous wreck! Do we even dare compare this "music" to the works of Dvorak, Tchaikovsky, Sibelius, Beethoven, Mendelssohn, Brahms, and Saint-Saens to name a few? How can one enjoy this broo-haha when he is used to REAL classical music? Adaptation? Open mind? Brain washing? Double personality? Cotton in ears? It's enough that we have to hear this noise on TV and at the movies. ZERO stars.
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