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Del Tredici : Tatoo / Rorem : Concerto pour violon / Bernstein : Concerto pour orchestre ("Jubilee Games")


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Détails sur le produit

  • Interprète: Léonard Bernstein, José Eduardo Chama
  • Orchestre: Israël Philharmonic Orchestra, New York Philharmonic Orchestra
  • Chef d'orchestre: Léonard Bernstein
  • Compositeur: Léonard Bernstein, David Del Tredici, Ned Rorem
  • CD (14 octobre 1991)
  • Nombre de disques: 1
  • Label: Deutsche Grammophon
  • ASIN : B00000E4G7
  • Autres éditions : CD
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
  • Classement des meilleures ventes d'Amazon: 429.933 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Tattoo - 1. moderato maestoso
  2. Concerto pour violon - 1. twilight: free and spacious - attacca
  3. Concerto pour violon - 2. toccata-chaconne: very fast
  4. Concerto pour violon - 3. romance without words: hardly moving
  5. Concerto pour violon - 4. midnight: slow
  6. Concerto pour violon - 5. toccata-rondo: very fast
  7. Concerto pour violon - 6. dawn: wistful
  8. Concerto for orchestra jubilee games - 1. free-style events: allegro con brio, giocoso
  9. Concerto for orchestra jubilee games - 2. mixed doubles: thème and seven variations
  10. Concerto for orchestra jubilee games - 3. diaspora dances: vivace
  11. Concerto for orchestra jubilee games - 4. benediction: moderato, invocando
  12. Tattoo - 2. moderato maestoso - omaggio a nicolò paganini

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6 internautes sur 6 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Fascinating 26 novembre 2008
Par David Saemann - Publié sur Amazon.com
Format: CD Achat vérifié
These recordings from 1988 and 89 show that Leonard Bernstein was a vital force as a composer and as a conductor of American music up until the end of his life. All the works on this album were written in the 1980's. Del Tredici's Tattoo is a virtuoso showpiece with a take on Paganini's 24th Caprice. It requires awesome conductorial technique and ears, which Bernstein has. Rorem's Violin Concerto is a beautiful, meditative piece. I also have Phillipe Quint's recording of it on Naxos, but Gidon Kremer inhabits the work to a greater degree. Ned Rorem in his diaries voices his approval of this performance. These two works feature the N.Y. Philharmonic in Avery Fisher Hall. It is notable how much better the orchestra played for Bernstein at this time than it did for much of his tenure as its music director. The sound engineering conveys the feeling of being in the hall to an unusual degree. Bernstein's Jubilee Games features the Israel Philharmonic, for whom it was written. It is a clever work, alternately vigorous and meditative, with some beautiful mood painting in the softer passages. These recordings were not issued until after Bernstein's death, and they form a fitting memorial to him.
3 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A beautiful melange of Mr. Del Tredici's unique composition style with the more severe style found in Ives' Browning Overture 2 octobre 2013
Par Tom Brody - Publié sur Amazon.com
Format: CD
TATTOO is a 1-movement symphonic piece lasting exactly 18 minutes. TATTOO is completely instrumental, as is Mr. Del Tredici's composition "STEPS." Unlike FINAL ALICE, and unlike STEPS, it is the case that TATTOO is sparse in individualism. In other words, we do not find excerpts where any of the woodwinds or brass particularly stand out, either as solo instruments, duets, or as part of a small ensemble that is carved out from within the larger orchestra. TATTOO takes the approach of providing continuous sheets of sound. The result is a jagged landscape of continuous sonic curtains, resembling the noisier parts of BROWNING OVERTURE by Charles Ives. In fact, for people who love Browning Overture (as I do), the compositions that are closest to this include TATTOO and perhaps SUN TREADER by Charles Ruggles.

TATTOO begins with some stuttering huffs from the tubas and stringed basses. At 15 seconds, a tambourine provides a jingling chatter, and at 42 seconds comes an oriental-sounding cymbal crash. The low-throated stuttering barks continue and at 45 seconds, the barking is overlaid with French horn moanings and then trumpets. At 2 minutes and 20 seconds, and at 2 min, 25 sec, come jazzy-sounding raspberries from the brass section. The piece continues with curtains of sound, layered on top of each other. There is really no overt rhythm, except for the aleatory grunts from the stuttering stringed basses. Of course, the fact that the lowest registers of the orchestra play aleatory stutterings is intentional (my remarks are adulatory, not critical).

At 5 min, 50 sec comes a short busy section sounding like a distant calliope. Then, the curtains of sound resume, and the listener is subjected to repeated sheets of sound that churn and fluctuate like ocean waves periodically crashing against a rocky cliff. At eight minutes, comes a quiet part, sounding somewhat like the opening notes of Mahler's Ninth. At 10 min, 5 sec, the woodwinds provide a partial quote from Paganini's 24th Caprice. This quotation reminds me of the echos of bird calls off of Yosemite's Half Dome, as can be heard every morning at dawn. At this point in TATTOO, the quotation is buried by the rest of the orchestra, and only people familiar with Paganini's 24th Caprice will be aware of what is really going on. At 11 min, 25 sec, the quotation occurs in its entirety, not in any fragmentary form, and at this point, the Paganini tune dominates over the orchestra. At 12 minutes, the fragmentary version is repeated. At 14 min, 30 sec, begins a noisy descending motif.

To conclude, if you are a fan of Charles Ives, and wish that Mr. Ives had composed more of what is found in BROWNING OVERTURE and in the Ives FOURTH SYMPHONY, then TATTOO by David Del Tredici will likely be more than satisfactory to you. I also recommend Lutoslawski's version of the Paganini 24th Caprice. The Lutoslawski piece is one of the most amusing and playful compositions in the realm of classical music.
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