While Dutilleux's music is concerned with echoing the abiding strangeness of the poet's ambiguous, erotic symbols and images, Lutoslawski's concerto offers musical drama of a very different kind: here the orchestra is much more adversarial, while the soloist might represent an independent-minded artist, determined to resist social conformity at all costs, and emerging from a titanic conflict at the end, bloody but unbowed.' These important scores, and the two solo pieces, are here performed by the Swiss cellist Christian Poltéra, who on three recent, highly acclaimed BIS releases has presented concertos and chamber works by Frank Martin, Arthur Honegger and Othmar Schoeck. In Dutilleux's case, the hypnotic atmosphere, characteristic intensity and allusive expressiveness of his best compositions owe much to French literature, and it was his fascination with the poetry of Charles Baudelaire that led him to chose the title Tout un monde lointain from a poem which speaks of an utterly remote world of exotic places and sensations. Quoting from the authoritative liner notes by the musicologist Arnold Whittal 'Lutoslawski and Dutilleux are near-contemporaries whose most characteristic music sounds very different. and Witold Lutoslawski's Cello Concerto, in 1970 Rostropovich gave the first performances of both works, and six years later he was instrumental in commissioning a series of short seventieth-birthday tributes to the Swiss conductor and music patron Paul Sacher, to which both composers contributed. As the dedicatee of Henri Dutilleux's Tout un monde lointain. It emphasizes once again what a world of its own Debussy’s music is.ĭutilleux: Tout un Monde Lointain – James Gaffigan, Luzerner Sinfonieorchester, Emmanuelle Bertrand (cello), Pascal Amoyel (piano), Harmonia Mundi, 2015.All four works on this disc share Mstislav Rostropovich as a common denominator. Between the works of Dutilleux, a sonata for cello and piano by Debussy can be heard. Keep the remote handy, because the dynamics of this recording are hefty. The performance and recording of the cello concerto is just as good. Making music is work, audio is energy, and when the energy of that work pops out of the speakers it becomes a physical experience. I bounce off the couch every time I hear it. You can hear her breathing with it and working hard to conjure the music from under the bow you can just barely feel the drops of sweat.Īnd despite the fact that you are sitting very close to the cello, the recording does not feel oppressive. The Harmonia Mundi recording is made close to the cello. She lets her cello breathe, sing, whisper and growl. Her performance of the solo piece “Trois Strophes sur le nom de Sacher” is absolutely spectacular. Someone who worked on his music at his own pace, detached from any fashion, and left behind a modest catalog of high quality work.Įmanuelle Bertrand gives an energetic performance of two of his works. A composer of class and teacher of many other composers.
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