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Gil Shaham, Violon

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Détails sur le produit

  • Chef d'orchestre: David Robertson
  • Compositeur: Benjamin Britten, Alban Berg, Samuel Barber, Igor Stravinsky, Hartmann
  • CD (3 mars 2014)
  • Nombre de disques: 2
  • Label: Canac
  • ASIN : B00HZVLX7Q
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 84.553 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

Description du produit

Bedeutende Violinkonzerte aus den 1930er Jahren. Die 1930er Jahre waren ein unglaublich reiches Jahrzehnt für das Violinkonzert. In der Unsicherheit der Zeit entstanden über 30 Violinkonzerte, die alle zum Kernrepertoire der Geiger wurden. Gil Shaham spielt auf zwei CDs die Konzerte von Barber, Berg, Hartmann, Strawinsky und Britten. An seiner Seite vier der weltbesten Orchester: New York Philharmonic, Boston Symphony, BBC Symphony Orchestra und Staatskapelle Dresden.

Critique

As the skies darkened, composers wrote violin concertos. The 1930s, which saw the rise of Hitler, Stalin's massacres, the Spanish Civil War and the displacement of millions of innocents, yielded a resurgence of violin concertos so timely and intense that it must have been more than coincidence. The virtuoso Gil Shaham is collating some 18 concertos of the decade in a live-performance series on his own label.Not all concertos are created equal. Samuel Barber's, which opens this set, is sweet too sweet to have been written during the German invasion of Poland. The composer's wilful myopia and tune-stocked willingness to please render the work a harmless anachronism, brilliantly played and utterly superficial.Alban Berg's concerto, written in the year he died, 1935, mourns the death of Alma Mahler's daughter, Manon, and, one by one, Vienna s creative freedoms. That same year, in Munich, Karl Amadeus Hartmann was writing a Concerto funèbre for violin and string orchestra that he refused to have played under Nazi rule. Each of these works is a milestone in time; Hartmann's, fabulously delivered by Shaham and a Korean ensemble, is a near-masterpiece by an undervalued composer.The remaining concertos here are Britten's and Stravinsky's, both more switched-out than switched-on, although Britten, just 25 in 1939, admits intimations of the ominous. Shaham performs with top orchestras New York Philharmonic, Dresden Staatskapelle, Boston Symphony and BBC and in excellent sound. His series promises to be an essential adjunct to our understanding of the era. ***** RECORD OF THE WEEK. --Sinfini Music, !7/3/14

What first struck me about this initial volume how Shaham, a fine musician even 20 or so years ago, has matured as a player, his vibrato marginally quicker and more intense than it had been, his sound palette far subtler, less prone to over-ripeness, his range of expression wider, more sensitive to the rise and fall of a phrase. This is a most distinguished release and I cannot wait for the second instalment. GRAMOPHONE EDITORS CHOICE --Gramophone, Apr'14

Here are five great works directed from the violin by Gil Shaham, with the vibrant Sejong Soloists, this poignant 1939 work gets an edge of the seat performance. Performance **** Recording **** --BBC Music Magazine, May'14

Consummate understanding, intrepid emotional scope, and golden tone ...'its been many moons since I ve encountered a more urgently communicative or tenderly poignant account of the Berg (marvelously eloquent support from the great Staatskapelle Dresden under David Robertson). In fact every performance in this set bears comparison with the finest available; certainly, the present reading of the Barber surpasses Shaham's own DG predecessor. **** --Classic Ear, July'14


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Par Denis Urval COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 28 mars 2014
Format: CD
Sur la couverture de cet album, Gil Shaham sourit et semble prêt à embarquer sur un paquebot pour traverser l’Atlantique comme pouvaient le faire les Heifetz et les Menuhin du temps jadis.

Sur son label, Canary Classics, le violoniste établi à New York nous propose une vaste anthologie des principaux concertos pour violon des années 1930, des œuvres tantôt charmantes (Barber) tantôt plus sombres et austères (Hartmann), mais toutes significatives et réconciliées dans notre mémoire, quelle que soit leur esthétique. Ces œuvres, il les a « rôdées » en concert pendant plusieurs années et il les a jouées dans plusieurs grandes villes du monde.

Faudrait-il minorer cette parution parce qu’elle n’est pas cautionnée par un « grand » label ? Aujourd’hui, les dits grands labels s’engagent rarement dans des projets aussi ambitieux : trop souvent, il faut « excuser » le classique avec des frivolités dont on se demande si elles trouvent vraiment un public recherché avec si peu de subtilité. De plus, lorsqu’il s’agit de trouver des accompagnateurs aux concertos, DG, l’ancien éditeur de Shaham, a bien rarement la main heureuse ces temps-ci. Alors il faut aller là où la musique se fait.

On peut noter une évolution stylistique de Shaham, dont la manière est un peu moins « charmeuse » qu’avantBrahms - Concerto pour violon / Double Concerto, mais dont l’aplomb en scène reste le même (enregistrements publics).

1. Barber, Concerto, Philharmonique de New York, David Robertson.
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Amazon.com: HASH(0x92dd1c60) étoiles sur 5 9 commentaires
9 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x92be66c0) étoiles sur 5 Snapshot of a decade 28 mai 2014
Par Digital Chips - Publié sur Amazon.com
Format: CD
There's an advantage to running your own record label -- it's easier to do the projects that you really believe in. In this case, Gil Shaham is the owner/operator of Canary Classics, and the project is a survey of violin concertos of the 1930's.

Just the lineup of composers for this first volume show how rich this decade was: Samuel Barber, Alban Berg, Benjamin Britten, Karl Amadeus Harmann, and Igor Stravinsky all wrote violin concertos in the 1930's.This 2-CD set brings together recordings of Shaham performing in different venues with different forces, so there's a little unevenness in the sound. But not in the performances themselves. Shaham plays every work insightfully and with conviction.

Shaham's rendition of Berg's Violin Concerto brings out the emotion suggested by the subtitle "To the Memory of an Angel." He highlights the romantic expressiveness of the work, letting the dodecaphonic structure fade far into the background.Stravinsky's Violin concerto is played with dryness and acerbic wit, while Britten's youthful Op. 15 concerto revels in its more somber tone and thicker harmonies.

For me, the two standouts (and that's a relative term) were the Hartmann "Concerto funebre" and Samuel Barber's violin concerto. Hartmann's work reflects the deep despair this anti-fascist composer felt living in the heart of Nazi Germany. Shaham both plays and conducts, making this a very intimate reading. The pathos expressed is heart-breaking, and Shaham delivers it with the sensitivity it deserves.

The opening work is Barber's violin concerto, recorded in a live performance. David Robinson and the New York Philharmonic make this richly romantic work positively luminescent. Shaham sings through his violin, taking full advantage of Barber's lyrical music. The energy in the final movement is almost palpable, and the enthusiastic response is well-deserved.
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x92be6714) étoiles sur 5 Mostly wonderful live readings that throw the Thirties into an expansive light 4 mars 2014
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
I'll try not to react to the misleading prior reviews that found fault with this exceptional - and exceptionally generous - release, which gives us five concertos on two CDs. It was an inspired idea for Gil Shaham to use "concertos of the 1930s" as a theme, because several threads interweave among these works. Let me list the program first.

Barber, S:
Violin Concerto, Op. 14
New York Philharmonic Orchestra, David Robertson

Berg:
Violin Concerto 'To the Memory of an Angel' (1935)
Staatskapelle Dresden, David Robertson

Britten:
Violin Concerto in D minor Op. 15
Boston Symphony Orchestra, Juanjo Mena

Hartmann, K:
Concerto Funèbre for violin & string orchestra
Sejong Soloists

Stravinsky:
Violin Concerto in D
BBC Symphony Orchestra, David Robertson

The somberness and anxiety of the age are reflected in the Berg, Hartmann, and Britten concertos; Stravinsky's neoclassicism also strongly affected Britten's style, and he tells us that his concerto followed upon hearing the Berg for the first time, a devastating experience. Only the Barber floats above the dark mood of the time. These are live performances, each caught in exemplary sound, the only exception being the Britten, which was miked too far away to capture quite enough orchestral detail. But it also suffers from tepid conducting by the rising Spanish conductor, Juanjo Mena, which seems to pull Shaham into a reticent mood.

Everything else demonstrates why Shaham is universally loved by audiences and esteemed by his peers. He combines flawless technique, beautiful tone, perfect control over the lyrical line, and superb musical instincts. Often described as a warm player, he captures the angst in the Stravinsky and Berg concertos quite well - these two readings are worth the price of the entire set, and the accompaniments by Shaham's favorite conductor (and brother-in-law) David Robertson match the acuity and detail of the soloist. both readings could easily be anyone's first choice.

The Hartmann concerto, as its name says, is funereal; most of us have never heard it, and not all five movements rise to the same level of quality. The two strongest movements, to my ears, are the Adagio and the concluding Chorale (a link to the Bach chorale in the Berg), where mournfulness is matched by a beautiful line, in which Hartmann writes the kind of "almost melodies" that Britten also specialized in. As moving as Hartmann can be, I'm glad very few composers followed his utterly bleak attitude toward his tragic times. Shaham made his concerto debut on DG with a pairing of the Barber and Korngold concertos, a classic recording that could hardly be bettered. This live reading is at least as good as the original; I hear few differences.

The blurb for this set whets the appetite for Vol. 2 in the series when it says, "The 1930s was an incredibly rich decade for the violin concerto, thriving on what was the uncertainty of the age. Over 30 violin concertos materialized across the decade, with well over a dozen - from Stravinsky and Berg's through to Barber's and Britten's concertos - all commanding iconic status within the violinist's repertory." Let's see what treasures Shaham and Robertson have in store for us next.
11 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0x92be6b4c) étoiles sur 5 Music in the Worse of Times 5 mars 2014
Par Dr. Debra Jan Bibel - Publié sur Amazon.com
Format: CD
Before dealing with the distinctions of performance of the five violin concertos, let us consider the very project that Gil Shaham has begun. The recent global economic crisis reminds us that history is now ripe for a retrospection of the 1930s, particularly in the arts. The vigorous social rebound of the 1920s following the slaughter of the Great War now came to a traumatic halt. It was not the best of times. Besides the mounting misery of the Great Depression and its spread across the world, military fascism was on the rise with social intolerance and a growing threat of war. Jazz was evolving from New Orleans style and Charleston dances to big band swing. From the classical music perspective, Shaham examines how composers each approached this era, seeking a zeitgeist and insights into the social matrix and individuality. Four of the five pieces are from live concerts with different orchestras. To ensure some evenness in listening to the series, the same audio engineers were involved in editing and mixing (with the same exception) and conductor David Robertson was leader in three of the concerti, though this choice may also have its own disadvantages.

The first concerto, performed with the New York Philharmonic, is the Barber from 1939, begun at the outset of World War II with Barber hurrying back home from the Swiss alps. Although completed in 1940, Barber was not entirely satisfied, especially with the last movement, and revised it in 1948. Many renditions of this piece are highly romantic, but Shaham and Robertson interpret it in darker, realistic tones. The lyricism and beauty of the first movement now has a foreboding horizon, and the concerto soon turns plaintive and anxious with the shadow of war. This andante, recognized for its melancholic passion, is made achingly beautiful as well with Shaham. The piece ends with a brief energetic technically demanding presto, which after the revision includes a touch of post-war cynicism. I very much like this performance and also the sound engineering.

The musical friendship of Aban Berg and the family of Bauhaus architect Walter Gropius and his wife, Mahler widow Alma Schindler, led to the 12-tone violin concerto of 1935 honoring the daughter of Gropius, who died at age 18. A deeply personal composition, it has musical quotations and allusions meaningful in Berg's life, and structurally it is ambivalent in its modern and traditional harmonies. Emotionally, the two-movement, 4-part piece does speak of tragedy and discord. The short-lived dance notes are crushed. At times, the music screams and laments. Eventually, at the very end, there is religious acceptance and release as the violin soars to heaven. With the Staatskapella Dresden, Shaham gives a subdued and rather even reading of depression and anguish, and the overall symphonic performance lacks the wide dynamic range of, say, the Sophie-Mutter/Levine collaboration, which has the additional emotion of anger; but neither is more valid than the other. People express grief in different ways.

The little known violin concerto by the poorly known Karl Amadeus Hartmann closes the first disc. Hartmann was an anti-fascist who kept a low profile in Nazi Germany with his painter brothers. During this period, he studied but did not write music, and refused to have his music performed. The 1939 (revised 1959) Concerto funebre, dedicated to his young son and spurred by the German invasion of Czechoslovakia, is a somber reflection, jagged and influenced by Central European Expressionism. Musical quotations of a Hussite war choral and a funeral tune in remembrance of the failed 1905 revolution mark Hartmann's defiance. The piece closes lyrically, in gentle and quiet hope and caution until the final abrupt chord. The Sejong Soloists of New York, a string orchestra named after the 15th-century ruler of Korea, a patron of the arts, perform with Shaham in a studio recording.

The second disc opens with Stravinsky's frequently performed 4-section violin concerto. Shaham plays with the BBC Symphony. The playful, exciting work, often with Soldier's Tale edginess, begins with a folk dance toccata and runs through episodes of various fun and lively structuces. Written in 1931, it still has Jazz Age spunk, the Depression had not yet becoming Great, and war was a ridiculous thought. Having heard this perform many times, I was not disappointed with Shaham's perspective. It proved not so different, and indeed the first section was as joyful as I have ever heard. The close-in microphone on the violin allowed new appreciation for textured bowing and fingering in this work. The middle sections were lyrical and sweet between the strident chordal punctuation; and the final movement presents technical virtuosity with capriccio gymnastics.

From the rebellious, winking inventions of 1931 we come to Benjamin Britten's 1939 seriousness. For pacifist Britten, hope was fading. The light of Spain dimmed with Franco's victory and Poland was invaded. He took leave of England for Canada and then the United States, completing his concerto. Its drama and complexity in the first movement seemed to include bugle calls by the string section and Spanish rhythm and phrases haunt. Influenced by Shostokovich, the scherzo has teeth. The second movement has protest at its heart and ends with a surprisingly long solo violin cadenza with Spanish echoes. The final movement occupies nearly half the concerto. Twelve variations of the theme flow dark and obsessive; it closes on an extended sad note. Britten returned to England in 1942. The Boston Symphony led by Juajjo Mena helps Shaham convey the shattering of idealism, which can be the common core of these concerti. I welcome this series. Volume one consists of two discs, 71 and 54 min.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x92be6f18) étoiles sur 5 Five Stars 10 novembre 2014
Par Rex M Edwards - Publié sur Amazon.com
Format: CD Achat vérifié
Stunning works of a creative period in violin. A must have in any classical collection.
HASH(0x92be6ec4) étoiles sur 5 Outstanding! 26 avril 2014
Par R. Jimison - Publié sur Amazon.com
Format: CD Achat vérifié
Great music done to perfection. Includes some live performance recordings. It is quite obvious that Gil Shaham loves and respects these works, and it shows in the performances here.
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