- -40%, -50%, -60%, -70%... Découvrez les Soldes Amazon jusqu'au 16 février 2016 inclus. Profitez-en !
- Publiez votre livre : sur Kindle Direct Publishing En format papier ou ebook c'est simple et rapide et vous pourrez toucher des millions de lecteurs en quelques clics ici !
- Plus de 10 000 ebooks indés à moins de 3 euros à télécharger en moins de 60 secondes .
- Gratuit : téléchargez l'application Amazon pour iPhone, iPad, Android ou Windows Phone ou découvrez la nouvelle application Amazon pour Tablette Android !
The Romantic Violin Concerto /Vol.11
Vous cherchez un CD ou Vinyle ?nos promotions et CD à petits prix.
Offres spéciales et liens associés
Les clients ayant acheté cet article ont également acheté
Détails sur le produit
Liste des titres
Disque : 1
Descriptions du produit
Descriptions du produit
THE ROMANTIC VIOLIN CONCERTO /VOL.11
Confidently projected playing. --The Strad,Feb'12
Tanja Becker-Bender is more equal to the demands of the solo part, and Lorthar Zagrosek's masterly articulation of Reger's Klangstrom(stream of sound), in all its transparency and modulated colour and variety of incident is, if anything, an even more distinguished contribution. Splendid recording too. --Gramohone,Mar'12
I have been a Reger admirer for almost my adult life, but I have not heard a performance of his Violin Concerto which has excited or moved me as much as this one. This is a truly outstanding CD of very fine music, excellently performed and recorded. IRR OUTSTANDING --IRR,Feb'12
Chief honours go to Tanja Becker-Bender: she not only shows stamina but also technical command, Beauty of tone and clear sympathetic identification with the music. Performance ***** Recording **** --BBC Music Magazine,Apr'12
Commentaires en ligne
Meilleurs commentaires des clients
- le concerto; il date de 1907; il dure près d'une heure! Sentiments mitigés avec un magnifique mouvement lent: lyrisme et tendresse des mélodies et la meme excellente impression à l'écoute des 2 romances pour violon et orchestre qui complète ce disque bien rempli. Mais quel violoniste va jouer ces romances ( couplage avec celles de Beethoven, la grande admiration de Reger ? )? Les 2 mouvements extrèmes du concerto sont beaucoup plus discutables: on ne s'y retrouve pas dans le trop long premier mouvement ( pas de thème à suivre et auquel se rattraper meme si la musique est constamment belle mais la réécoute clarifie les choses ) , final bruyant assez convenu.
- le compositeur: Max Reger est encore "fété" en Allemagne mais reste mal compris ailleurs. Prototype du musicien " bourgeois " de la charnière XIX/XX ème diècle, mal à l'aise entre la démarche moderniste d'un Schoenberg et les tumultes d'un Mahler ou d'un Richard Strauss. Beaucoup de ses oeuvres sont interessantes: les grands cycles de variations pour orchestre ( Mozart, Hiller, Bocklin et son traitement de l'ile des morts tient la route face à Rachmaninoff ); les lieder avec orchestre ( notamment le très beau "an die Hoffnung" de 1912 et Tristan est passé par là ); les suites pour violoncelle seul; le concerto pour piano; le quintette avec clarinette; le Requiem...On se rappelle sa très abondante oeuvre pour orgue.Lire la suite ›
Le concerto pour violon op. 101 de Max Reger (1873-1916), certes, c'est un peu la faute du compositeur s'il n'est pas plus connu. D'une durée de plus de cinquante minutes, il est proprement monumental, et ceux qui assimilent bonne musique et mélodies accrocheuses (« catchy tunes ») n'en trouveront guère dans ses trois mouvements très développés. Au-delà du plan général, qui évoque plus que clairement l'op. 61 de Beethoven et l'op. 77 de Brahms, la musique est singulière et forte, tantôt euphorique, tantôt véhémente, avec un soliste volubile et très exposé. Elle gagne à être réécoutée, l'auditeur trouvant peu à peu ses marques. A écouter l'interlude orchestral au milieu du premier mouvement, on n'est pas loin des Gurrelieder.
Les deux romances op. 50, offertes en complément, présentent un Reger à peine plus léger, non moins raffiné.Lire la suite ›
Commentaires client les plus utiles sur Amazon.com (beta)
"Max Reger's Violin Concerto is a monster, that is, in terms of sheer length. The work clocks in at just under an hour; the first movement alone lasts nearly 27 to 28 minutes. Busoni's mammoth Piano Concerto, which can run to 74 minutes, is a comparable masterpiece. Although the brilliance of both works is absolutely apparent, these are pieces that will never be programmed for the concert hall. It is not just the tremendous technical demands that must be met by the soloist, but the lengthy symphonic phrases and unrelenting musical suspense of the former, and the mercurial choral symphony-like structure of the latter, which defy the expectations of a conventional concerto to an audience.
I own the Manfred Scherzer version of the original concerto (on Berlin Classics), conducted by Herbert Blomstedt. What we have in this new disc is the world premiere of the re-orchestration of the work by Reger's disciple Adolph Busch. At 17 years of age, Busch played the concerto from memory to an astonished Reger. Reger himself recognized that his own heavy orchestration was problematic. After Reger's death, Busch, honoring the genius of the work, sought to bring more transparency to the orchestration and achieve a more effective balance between the orchestra and soloist by re-assigning parts. Busch did not change a note of music. His goal was to find a wider acceptance of this masterwork in the concert hall. Whether this first recording can accomplish this remains to be seen.
Scherzer was not really up to the Herculean task of the soloist, although he does an acceptable job. Kolja Lessing, equally well-versed in both violin and piano, gives a fine performance that does not depend of pyrotechnical display but is movingly thoughtful. The warmth of the two Romances is deeply poignant, as is the world premiere of the Air, which nearly quotes Bach's famous Air at the start. The Gottingen Symphony Orchestra is an excellent ensemble, and Christoph-Mathias Mueller is a conductor of great sensitivity.
It should be noted that the recording engineers strike a perfect balance, never overly spotlighting the soloist as one finds in many concerto recordings. The concert hall ambiance is admirable.
One hopes that this new recording will bring a legion of new admirers to these works, just as Hamelin's Hyperion recording has done for Reger's Piano Concerto (and Busoni's for that matter). In my opinion, Reger was the composer most aware that the age of Romantic music was coming to an end, and there is a melancholy sense of loss that pervades his later works. While his music is redolent of Brahms, his form is unique; Reger was a progressive composer and was highly influential to the Expressionist/Late Romantic movement. Perhaps that is why the orchestral Reger is so rarely performed in the concert repertoire."
Now Hyperion has released its own recording of the Reger Violin Concerto and the Romances, this time in the original version. Without question, this recording is outstanding, and the soloist (unknown to me), Tanja Becker-Bender, is astonishing. Her prominence amongst today's violin soloists is almost inevitable. In a challenging work such as this, she gives a performance of Herculean strength, never swamped by the orchestral strata of sound, and has a meltingly beautiful tone. You will be utterly captivated by the largo movement of the Concerto. It should also be noted that the wonderful conductor, Lothar Zagrosek, demonstrates a perfect affinity with the soloist and the Reger's dense palette. In many ways, this release is as fine, if not finer, than the Piano Concerto with Hamelin on this label.
Reger's concerto lasts about 57 minutes, in 3 large-scale movements, with the first taking up almost 27 minutes alone. Little wonder that the composer himself described the concerto as "a monster". In his liner notes, Wolfgang Rathert (translated by Charles Johnston) says that "the concerto's very wealth of ideas and overabundance of beauties go hand in hand with a loss of clarity of outline for the listener." For me, however, the profusion of invention never quite coalesces into any big tunes that are comparable to those from the "big 4" violin concerti in the standard repertoire (Beethoven, Mendelssohn, Brahms, Tchaikovsky), with honorable mention to Bruch 1, Elgar and Walton. The violin writing is quite lyrical throughout, but again, even after listening to it twice, I couldn't find myself able to recall any particular tune. Nothing about this score is "inaccessible", not at all, but this relative lack of "big tunes", besides the work's sheer length and massive technical demands for the soloist, help to explain why this concerto has never entered the standard repertoire.
It may then seem unfair to contrast this "monster" concerto with the "Two Romances", which are obviously on a much smaller scale and are much less ambitious in their scope. According to Rathert's note, Reger composed these romances as "calling cards" to try to make a mark in a relatively populist violin concertante form. Yet it's hard not to escape the feeling that even though these op. 50 Romances aim lower, they hit the mark, compared to the concerto trying to scale the heights and not quite, perhaps, reaching the summit. The op. 50 Romances are real charmers and would definitely surprise anyone who has any sort of impression of Max Reger's music as "heavy". If nothing else, the op. 50 Romances are proof that Reger could "lighten up" when needed, I think that they would go down very well as a novelty in a live concert, if any violinist were enterprising enough to revive them for live performance. I would likewise be pleased to read of any violinist who wanted to revive the op. 101 concerto.
However, I don't expect anyone to revive the concerto soon in concert. Thus, by default, the best way for curious or adventurous listeners to learn more about these works would be recordings. Fortunately, in the case of this new Hyperion issue, we are in excellent hands in both works. Tanja Becker-Bender is well up to the demands of the concerto, and also shows a suitably lighter touch in the Romances. Likewise, the Konzerthaus Orchestra of Berlin and their former chief conductor, Lothar Zagrosek, provide splendid orchestral support. So if you want to check out these particular works, you need not hesitate with this recording. It may be your only means, for the duration.