- Outlet Anciennes collections, fin de séries, articles commandés en trop grande quantité, … découvrez notre sélection de produits à petits prix Profitez-en !
- Concours d'écriture "Les Plumes Francophones" : tentez de gagner 3 000 euros en publiant votre livre. En savoir plus .
- Rentrée scolaire : trouvez tous vos livres, cartables, cahiers, chaussures, et bien plus encore... dans notre boutique dédiée
- 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 !
Bartòk: Violin Concertos
- Choisissez parmi 17 000 points de collecte en France
- Les membres du programme Amazon Premium bénéficient de livraison gratuites illimitées
- Trouvez votre point de collecte et ajoutez-le à votre carnet d’adresses
- Sélectionnez cette adresse lors de votre commande
Offres spéciales et liens associés
Produits fréquemment achetés ensemble
Les clients ayant acheté cet article ont également acheté
Détails sur le produit
Descriptions du produit
Description du produit
Le deuxième concerto pour violon de Bartók (1937-38) fait à tel point partie de ses oeuvres les plus célèbres - du fait de son extrême aboutissement - qu'il a quasiment éclipsé son aîné de trente ans ! Redécouvert bien après la mort du compositeur, ce dernier avait pourtant une histoire... Fidèle à ses habitudes, Isabelle Faust est remontée aux multiples sources musicales de ce premier concerto "tout droit venu du coeur"... puisque l'idylle nouée par Bartók avec une jeune violoniste était au coeur de son processus créatif.
Isabelle Faust ist seit ihrer Einspielung der Sonaten und Rhapsodien auch als Bartók-Interpretin erste Wahl. Mit den beiden Violinkonzerten unterstreicht sie diesen Status nachdrücklich; Faust besitzt neben einer über alle Zweifel erhabenen, in ihrer Klasse freilich selbstverständlichen Technik einen fabelhaften Sinn für den fragilen, träumerischen Lyrismus wie für die Ruppigkeit dieser Partituren. Und bietet außerdem die wissenschaftlich wohl am besten abgesicherte Interpretation, entscheidet sich im 2. Konzert für den ursprünglich von Bartók vorgesehenen Finalschluss ohne Soloinstrument, der sehr selten zu hören, aber viel beeindruckender ist als das vom Uraufführungsvirtuosen erzwungene Zugeständnis...Grandios! (concerti.de)
Es sind nicht nur die geigerischen Einzelheiten, sondern auch Fausts Kommunikation mit dem Orchester, die den Hörer anspringen. Genauigkeit und Spielfreude, die Kunst des Filigranen und die Lust am Kantigen werden hier mustergültig eingefangen. (NDR Kultur)
Commentaires en ligne
Meilleurs commentaires des clients
Dans la notice qu'elle a elle-même rédigée, Isabelle Faust rappelle que pour son premier disque comme soliste elle avait gravé pour Harmonia Mundi deux Sonates de Bartók dans la collection « Début » (complété ensuite par la sonate n°2 et les Rhapsodies)Béla Bartok : Sonates pour violon seul sonates pour violon & piano. Elle nous apprend qu'elle a travaillé lorsqu'elle avait onze ans la Sonate pour violon solo avec le violoniste hongrois Dénes Szigmondy, qui avait connu personnellement Bartók. En outre, elle écrit que l'enregistrement de la création du Second concerto par Zoltan Szekely, son commanditaire, et l'orchestre du Concertgebouw d'Amsterdam dirigé par Willem Mengelberg (1938) l'a beaucoup aidée dans sa recherche d'une forme d'authenticité de l'interprétation.
Comme on la comprend : Szekely/ Mengelberg, qu'on republie ces jours-ci chez DeccaThe Concertgebouw Recordings, avec un violoniste idéal, à la fois magicien et conteur, reste le mètre étalon de l'interprétation de cette musique.Lire la suite ›
Commentaires client les plus utiles sur Amazon.com (beta)
Faust prepared carefully for these recordings with much research, the findings of which are detailed in her five page essay which accompanies the disc. She has clearly made some significant discoveries; for instance, on consulting the first performance solo part of the first concerto she found some annotations in the composer's own hand, which don't seem to have come to light before. In one of these reference is made quite specifically to the first few notes of the second movement, which Bartók wrote are to be played 'without vibrato'.
The first concerto is less often recorded than the second, but Faust makes as convincing case as possible for it to be brought back into the mainstream repertoire, both in her writing and in her playing. The work is a love-letter to the violinist Stefi Geyer, and the first notes were sketched during their holiday together in the summer of 1907. Geyer declined to perform it however, breaking off their relationship soon after it was finished. Bartók noted in a letter that for him, composition involved the whole self, exhibiting 'more exactly than a biography...the driving passions of a life'. All emotions were admitted, '...grief, rage, vengeance, twisted irony, sarcasm.' Faust here captures both the beauty which the composer idealised, but also the flip-side; the capriciousness and the cool indifference. More lyrical than the second concerto, and written before Bartók had fully absorbed the spikiness and occasional grotesquery of the various folk elements which were later to so engage him, this is a work of brief, svelte enchantment.
Faust has much competition in terms of the second concerto, with particularly strong recordings from Patricia Kopatchinskaja Bartók Eötvös Ligeti, Kyung-Wha Chung Violin Concerto 2 / Rhapsodies 1 & 2 and Isaac Stern Stern plays Tchaikovsky, Bartok amongst many others. In a concerto in which it is tempting to fly to the alternate extremes of either pianissimo or outright frenzy, Faust finds a sort of repose from which she can expose the many colours in this at times contorted and convoluted work. The 'Sleeping Beauty' Stradivarius of 1704 is capable in her hands of producing breathtakingly beautiful legato passages which seem to defy any sense of bow strokes being made at all. On the other hand, when the music spins into a vortex at the climax of the last movement, the full power and majesty of the instrument is unleashed. It's fittingly echoed by the brass in the rarely heard original ending, with a sound which Faust herself describes as like 'the roaring of elephants'. Daniel Harding and the Swedish Radio Symphony Orchestra take the centre-stage here, in a glorious culmination to a wonderful performance all round.
In the outer movements, like Kyung-Wha Chung's (in both her versions, but even more with Rattle in 1990, Violin Concerto 2 / Rhapsodies 1 & 2 than with Solti in 1976, Violin Concerti 1 & 2), Faust's Bartok is dashing and biting in the urgent moments, but the main difference with the more spacious approaches of Sitkovetsky-Pesek (1990, Violin Concertos 1 & 2) or Shaham-Boulez (1998, Bartók: Violin Concerto No. 2, Rhapsodies Nos. 1 and 2), or even with the very dashing rhapsodic version of Korcia-Oramo (2004, Violin Concerto No 2) is that she doesn't linger in the more lyrical moments. Not that her lyrical moments lack any lyricism and songfulness that I can perceive, but the lyricism is kept flowing and thus, to my ears, made all the more intense. Among the versions I know it is to Stern-Bernstein (1958, Bartok: Violin Concertos Nos. 1 & 2 (Isaac Stern: A Life in Music, Vol. 9)) and Chung-Rattle that Faust-Harding come closest in the first movement, and if Faust's first movement clocks 15:10 to Chung's 15:53, it is only because she remains dashing in the cadenza, where Chung details more. Faust also has some very personal touches, like her swooping glissandos at 3:45, 10:03 and 10:42. She receives strong support from Harding, and he too finds details in Bartok's orchestration and lets you hear them as no-one (that I've heard) before, like the "barking" clarinet glissandos at 2:08 in the first movement. Rattle with Chung also has similar moments (not the same as Harding) and maybe a touch more sonic impact in some of the big brassy outbursts, although Harding is not wanting either. My only qualm then is that his basses are fuzzy.
Faust's second movement is outstanding, atmospheric without any sentimentalism thanks to tempi kept "andante" in the slower sections (it is a theme and variations), and always remarkably close to Bartok's impossibly detailed metronome marks and estimated performance timings. The Finale runs along the same lines as the first movement, alternately urgent and biting and intensely lyrical, with again strong support from Harding and the orchestra, and Faust is up to the music's many moods, including the playfulness and skittishness of the "grazioso" moments. And be prepared for a treat, or maybe a jarring shock: Faust and Harding end not with the customary conclusion (the one commissioner and premiere performer Zoltan Szekely asked Bartok to write so that he wouldn't just stand there and listen to the orchestra alone conclude), but the rare original version. I know only one other recording that does it: Zukerman with Slatkin (Bartok: Violin Concerto No. 2- Alternate Ending / Viola Concerto, Op. Posth.). Too bad Faust didn't do as Zukerman, and repeat the Finale, with both endings. With a TT of 58 minutes, there was plenty of space. Nonetheless, this is one of the best versions of Bartok's Violin Concerto.
As far as tempi are concerned, Faust's first movement of the early 1907 Violin Concerto is less "authentic". Like Isaac Stern, who made the premiere recording of the newly discovered work in 1961 (see link above), or Oistrakh in 1962 (oops. I've exhausted my ten authorized product links - see in the comments section for the next ones), or closer to us Midori and Kremer, Faust takes an expansive tempo, slower than Bartok's metronome, highlighting the ecstatic, time-suspended quality of the first movement, although the orchestra's violins' apparently "senza vibrato" playing on their first entries brings a mood of gloominess anticipating the first movement of Music for Strings Percussion and Celesta. Faust plays with a thin and luminous tone that is entirely appropriate and she and Harding build great romantic intensity in the climaxes. In its alternation of the Scherzando and the languid, the second movement is so Straussian (to the point of sounding almost like a mockery of Strauss) that I think it easily lends itself to an approach of more extreme contrasts of tempi, as Midori did, than what Faust applies. That said, Faust's, greater restraint and discipline also has its arguments, and restraint and discipline don't mean that she doesn't have the required kitsch and dash when needed. Again Harding and the Swedish Radio Orchestra prove themselves perfect partners.
I'm looking forward to the next recording of Isabelle Faust.
The first concerto was not published or performed until after Bartok's death, having been composed with the love of his life in mind. This love did not come to fruition and the recipient and dedicatee, Stefi Geyer, did not play the work at all. Isabelle Faust has researched the manuscripts and other relevant documentation as regards this concerto, copious notes explain this in the booklet, and she found that there were numerous clues as to performance that simply were omitted from the published edition. These key descriptions are very specific about the emotional content of the piece and include instructions such as 'utterly desperate,' 'always volatile,' 'always tranquil,' 'unforced,' 'exhausted,' etc. Played with complete adherence to these very specific ideas, what we now hear is a far more subtle work which is considerably enhanced in stature.
The second concerto, of course, is incomparably the greater work and incorporates everything that Bartok knew about composition towards the end part of his life. In particular, Bartok, had researched and incorporated a great deal of Hungarian folk music, or the idioms of Hungarian folk music, into his own compositions. This second violin concerto differs markedly from the first in that respect especially. In addition he was able to incorporate such disparate elements such as that folk music influence with more modern compositional ideas such as the 12 note tone row so that the whole structure becomes a unified experience as briefly described below.
The first movement thus starts with a folk dance idea, a verkunkos, but for the second theme he uses a 12 tone row but within a tonal context. This tone row is more flexible than that envisioned by Schoenberg in so far as the exact sequence of the pitching of the notes within the row is varied for melodic reasons and the initial note is repeated, in effect creating a 13 note tone row. None of this should be of concern to the listener as this should be a musical experience rather than an academic exercise. The second movement takes the form of a series of a theme with six variations with fully explore the possibilities of the violin. The final movement takes the form of a variation of the first movement.
Once more, Isabelle Faust has researched the intentions of the work in considerable detail. As a result the work has, on this recording, become more unified and makes complete sense as a whole musical experience. The accompanying booklet gives plenty of detail in these respects and makes for interesting reading.
This recording is notably effective in blending these elements in such a way as the whole piece flows logically and apparently simply. This is a considerable achievement with such a complex work. The interpretation is far less driven than that of the Chung/Solti recording where one suspects Solti of having a considerable influence on the interpretation. Chung's later recording with Rattle is an altogether gentler response with less drive and more lyrical awareness of the folk elements. Andre Gertler, a close performing colleague of Bartok for many years, offers probably the closest recording to Bartok's intentions but Isabelle Faust on this disc runs him pretty close and has a much more modern recording to her advantage. Arabella Steinbacher provides an interpretation of great accuracy and empathy which falls roughly in the middle of these alternatives.
On balance I would suggest that Isabella Faust's disc has claim to be one of the best recordings of these two works yet produced since Gertler's highly authentic accounts. Collectors would probably want at least both of these discs but those interested in just one recording could well be totally satisfied with Faust's fine new recordings on this disc.
Isabelle Faust supplies her own liner essay, a heartfelt and thoughtful introduction to two works that obviously engage her deeply. In 1977 the first violin concerto seemed something of a historical and scholarly find rather than anything a music-lover might want to hear for pleasure. The sleeve-note to my LP is distinctly offhand and dismissive in the few words it deigns to allow it, and I guess that is why until now I have not bothered to make its acquaintance. May I suggest that younger music-followers don't make the same mistake, because it is a lovely and affecting work. The first movement is a more or less continuous lyric, reflecting the love that the composer experienced for a young woman violinist (they were around then too, it seems). His feelings were not requited, and the long second and final movement may be taken as representing some sort of reaction. This is the only performance of it that I own or am ever likely to own. The focus of my own interest is on the great second concerto, and I'd hazard a guess that the same goes for most followers of Bartok from a musical rather than an academic angle.
How Kung-wha Chung and Solti handle the first concerto I therefore don't know, but if it is anything other than excellent something strange must have happened. Where they interest me is as a benchmark for comparing the superb new version of the second that I am reviewing here. Faust, Harding and the Swedish orchestra excel in every department, and the recorded sound is such as you would expect and demand for April 2012. I noticed immediately that they were more relaxed over the harp chords at the start, but, to my slight surprise, they took rather less time over the first movement overall. By way of consistency, they were brisker by a similarly small margin in the other two movements. There was little to choose in these other two movements, unless you think the issue of the alternative endings more important than I think it. The style, quality and general approach differ only in fine details that would overload a short review and prove nothing. In terms of the recorded sound 2012 unsurprisingly has a slight advantage over 1976, but if you are looking to buy only one version I suggest that this difference is not enough to sway a choice.
For me, the clincher is in the sense of continuity and linear strength that I want in the first movement, and here my vote definitely goes to Kung-wha Chung and Solti. What a choice to be offered! They are both superb. I would also add that Isabelle Faust's sensitive and illuminating comments are a world apart from the kind of thing that we are often served up by way of liner notes, and I think they reward careful reading. Like others, she comments on the way that the third and last movement reworks the thematic material of the first. I wonder why she does not mention the Elgar concerto in this respect: half the last movement of that (the so-called `cadenza') is a far more obvious reverie on the themes of its first movement, and I wonder whether it was Bartok's much-proclaimed liking for variations that guided him in this direction or whether he took some notice of old Elgar. More particularly, this performance gives us something I can't recall having heard before - the original ending that Bartok wrote before his soloist rhubarbed at it for leaving the solo instrument out. In fact that was nothing unusual. Offhand, I can think of both the `Emperor' concerto and the Brahms D minor, where the same thing happens without apparently upsetting anyone. However there is no way of getting both versions on to one cd simultaneously, so the only way to have both is to own both versions. If you think that the criterion of choice between them that I have offered is unsatisfactory and inconclusive, I think so too. I own both versions, and rather than make a single choice that is what I suggest you do as well.
This is an excellent production. Isabelle plays them cool and charming. And I enjoy her noble play. And the ensemble by her and Daniel Harding is lively. Violin Concert No.2 thrills me. I see she plays it a little fast.
Timing of Violin Concerto No.2
Gil Shaham 16:37 10:50 13:05
Arabella Steinbacher 16:16 10:35 12:21
Isabelle Faust 15:18 9:16 11:14
Bartók is one of the greatest composers in the 20th century. And I'm afraid that Bartók, who died in U.S., has been forgotten in U.S.
I think Bartók's inheritance and memory have to be preserved.
U.S. should do it or support it.