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Dvorák: Concerto pour violon et orchestra Op. 53, Trio Op. 65
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Dvořák: Violin Concerto, Op. 53
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De toutes les amitiés musicales célèbres et fructueuses, celle qu'entretinrent Brahms et Dvorák fut l'une des mieux partagées. Dès leur rencontre en 1878, Dvorák se laissa conquérir par l'école de rigueur de Brahms, son écriture gagna en clarté et son oeuvre s'inscrivit, pendant quelques années, dans le lignage stylistique de son aîné. Le Concerto pour violon et le 3e Trio avec piano appartiennent sans aucun doute à cette période "sous influence"? Mais avec quelle réussite !
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Commentaires client les plus utiles sur Amazon.com
The pairing of the two works makes for a most interesting and gratifying listening experience because of the contrast between the ensembles. In the piano trio, she fits as easily as if they played together all of the time. This is a superb recording, which is tasteful and sensitive in every aspect of nuance, style and range of expression.
The concerto has seen a spate of recordings in recent years, but with vivid recording in the Rudolfinum in Prague, this intense version is one of the most distinctive.
---Classics Today, artistic quality: 9/10, sound quality: 9/10---
Isabelle Faust is an excellent artist, and she turns in a winning performance of Dvorák's sunny Violin Concerto, a work that has steadily returned to public favor (and rightly so) in the past couple of decades. My only criticism of this performance concerns a slight stiffness of rhythm at the opening of the finale that you will not find in such celebrated interpretations as Suk/Ancerl on Supraphon-however, Faust quickly gets into the swing of things as the movement proceeds, thanks in large part to Jiri Bélohlávek's totally idiomatic conducting and the sharply focused rhythmic response of his orchestra. In the first two movements, Faust offers as fine an interpretation as any, playing with purity of timbre and inflecting Dvorák's gorgeous tunes with sweetness and, where required, with passion (especially in the opening movement). She's also naturally balanced against the orchestra, allowing some very winning give and take between the soloist and the band in the central Adagio ma non troppo. Coupling the Violin Concerto with Dvorák's finest trio is an excellent idea. Once again, the performance does not quite rise to the level of, say, the Suk Trio, particularly in the first movement where Faust and company sacrifice a bit of the music's intensity for the sake of urgency; but if it's a fault, it's certainly one in the right direction. The two-against-three rhythms of the scherzo bounce along quite effectively, and the Poco adagio, the heart of the work, also is very beautifully played, with cellist Jean-Guihen Queyras offering generous tone but never sounding sappy. The finale also revels in high spirits, though like the first movement it just misses the depth of elegiac feeling that other players bring to the closing pages, just before the ebullient ending. Small quibbles aside, these performances are highly recommendable-and benefit from terrific sound. If this coupling appeals to you, don't hesitate for a moment.
---All Music, James Leonard, 3.5/5--- (a bit unfair in my opinion)
For some reason, Dvorák's warm, round, lovely, and lyrical Violin Concerto has never made it as one of the big-time nineteenth century violin concertos. Who can tell why? Perhaps because the big-time twentieth century violin virtuosos didn't take it up like they did the concertos of Beethoven, Brahms, Tchaikovsky, Mendelssohn, and Bruch? Perhaps because the 1961 recording of the work by Czech violinist Josef Suk remains the definitive recording and none of the violinists who took it up could never quite compare with Suk's.
But, inevitably every decade or so, a young violin virtuoso will take up Dvorák's concerto and this decade's violinist is Isabelle Faust. A very talented player, Faust honorably acquits herself, but her performance cannot quite compare with Suk's. Her phrasing is warm, her tone is round, her lines are lovely, and her interpretation is lyrical. But for all that, Faust is still playing the work from the outside. Supported by the great Czech conductor Jirí Belohlávek leading the Prague Philharmonic, Faust's performance misses greatness by the small but insuperable distance between her to the music. Faust's performance of Dvorák's passionately melancholy Piano Trio in F minor with violinist Jean-Guihen Queyras and pianist Alexander Melnikov is superbly played and passionately interpreted, but unfortunately misses the work's melancholy heart. Harmonia Mundi's digital sound is warm and round, but a bit too close.
The concerto was written in 1879-80 and the trio in 1893. They pre-date the seventh symphony which is by far the most 'symphonic' of the late symphonies and the least Slavonic. Considering the trio first, this is given an emotionally tough reading with very little emphasis laid upon the Slavonic features such as those found in the Allegro grazioso of the second movement or the final movement. Instead the approach is much darker and more central European with the dramatic elements brought to the fore rather than the folk elements. The tempi are similar to most Slavonic performances but the phrasing within those tempi is less buoyant, less grazioso, and the accenting is more symphonically forceful. Bearing in mind the emotional state of distress that Dvorak was in at the time, this seems to be a perfectly valid, if unusual, view of the trio. The playing of the trio members is both excellent and completely committed to this interpretation which is completely convincing in its own right.
The concerto, equally, has more symphonic weight and less of the Slavonic nature to it than usual. It therefore inhabits a completely different emotional world to Josef Suk's legendary recording on Supraphon or Sarah Chang's on EMI for example which both deliver a lighter touch and more of the Slavonic dance. nevertheless, once more, Isabelle Faust is completely convincing in her more 'Brahmsian' approach to the work which, in her hands, becomes more centrally placed in the European romantic concerto repertoire.
In both cases the recording quality is strikingly good and is far better than Suk, Chang, Ehnes and Vengerov which are the other four recordings that it has been compared with.
I would suggest that this is a very worthy alternative view, and as such, will be of particular interest to collectors of multiple versions. Those looking for an 'only' version may prefer one with more Slavonic focus. That is not to suggest that this is in any way inferior, but just to acknowledge that the focus is that bit more serious than is often the case. Dark clouds on the horizon rather than all round sun which may be more realistic ultimately.
She is one of the three female violinists at this moment. The other two are Alina Ibragimova and Julie Fischer.
You shouldn't leave aside this record out of your collection. You will be amazed