There is a unique purity and transparency in Mahler's 4th Symphony. The enchanting slay bells take us to his inner child, to his dreams of angels, fairy tales, angst and pure, divine love. This child-like symphony needed a different orchestra: no dark tuba, no heavy trombones, no large arsenal of massive brass. A chamber orchestra in fact, where the clarinets act as mock trumpets, the solo violin tunes his strings sharper in order to scare us and the lightness of the whole orchestra lifts us up to his lovely, childish vision of paradise. Ivn Fischer
Additional Information
Artist
Budapest Festival Orchestra Ivan Fischer conducting Miah Persson Soprano
Inlay
Gustav Mahler Symphony no. 4 in G major Budapest Festival Orchestra Ivn Fischer, conductor Miah Persson, soprano
Biography
The orchestra was formed in 1983 by Ivn Fischer and Zoltn Kocsis, with musicians "drawn from the cream of Hungary's younger players," as TheTimes of London put it. Their aim, through intensive rehearsals and demanding the highest standards from musicians, was to make the orchestra's initially three or four concerts per year significant events in Hungary's musical life, and to give Budapest a new symphony orchestra of international standing. Between 1992 and 2000, extending their work to a full season the ensemble operated under the aegis of the Budapest Municipality and the new BFO Foundation, formed by fifteen Hungarian and multinational corporations and banks. From the 2000/2001 season onwards the orchestra is operated by the BFO Foundation, which the Budapest City Council regularly supports under a contract renewable every five years. In 2003 the Ministry of Education and Culture declared the orchestra a national institution supported by the state.
The Festival Orchestra is nowadays not only a vital part of Budapest's music life (usually performing to capacity audiences) but also a frequent and much appreciated guest at the world's most important centres of musical excellence: Salzburg (Summer Festival), Vienna (Musikverein, Konzerthaus), Lucerne (Festival), Montreux, Zrich (Tonhalle), New York (Carnegie Hall, Avery Fisher Hall), Chicago, Los Angeles (Hollywood Bowl), San Francisco, Montreal, Tokyo (Suntory Hall), Hong-Kong, Paris (Thtre des Champs-Elyses), Berlin, Munich , Frankfurt (Alte Oper), London (BBC Proms Festival, Barbican Centre, Royal Festival Hall), Florence (Maggio Musicale), Rome (Accademia di Santa Cecilia), Amsterdam (Concertgebouw), Madrid, Athens, Copenhagen, Prague (Prague Spring Festival), Brussels (Flamish Festival) and Buenos Aires (Teatro Colon), among others. After having recorded on Hungaroton, Quintana, Teldec, Decca, Ponty and Berlin Classics, the orchestra signed an exclusive recording contract with Philips Classics in 1996. Its recording of Bartk's The Miraculous Mandarin received the Gramophone Award, while Diapason and Le Monde de la Musique chose it as their recording of the year. Recordings of Liszt's Faust Symphony and Bartk's Concerto for Orchestra were chosen among the year's five best orchestral discs by Gramophone.
In 2003 the BFO signed a cooperation agreement with the label Channel Classics. Their recording of Mahler's Symphony No.6. has been nominated for the Grammy Award, their Mahler 2. has received the Gramophone Award. In summer 2008 Miah Persson returned to the Salzburg Festival with concert performances under the baton of Mark Minkowski. The 2008/09 season includes Miah Persson's return to Royal Opera House Covent Garden. Furthermore she gives her debut at the Theater an der Wien, as well as her debut at the Gran Teatro del Liceu in Barcelona. She will appear in concerts at Salzburg Mozarteum, in Lisbon, with the Chicago Symphony Orchestra, with Les Musiciens du Louvre and with the Hamburg Philharmonic Orchestra, and with recitals at the Wigmore Hall London and at the Frankfurt Opera. After her great concert debut at the Salzburg Festival in 2003 with the Vienna Philharmonics under Pierre Boulez, she gave her opera debut there in 2004 as Sophie/Rosenkavalier under Semyon Bychkov. A next invitation to Salzburg followed in 2005, where she had another great success, this time as Sifare/Mitridate under Marc Minkowski. In 2005/06 she made a highly celebrated debut at the Royal Opera House Covent Garden in London as Susanna/Nozze di Figaro, as well as at the Glyndebourne Festival 2006 as Fiordiligi/Cos fan tutte, and sang other great performances of Mitridate at the Salzburg Festival. Miah works regularly with such conductors as Vladamir Ashkenazy, Daniel Barenboim, Ivor Bolton, Pierre Boulez, Ivn Fischer, Sir John Eliot Gardiner, Nikolaus Harnoncourt, Philippe Herreweghe, Ren Jacobs, Sir Charles Mackerras and Marc Minkowski. With her widely spread concert and recital repertoire Miah Persson has performed at the BBC Proms, in Amsterdam, with Deutsche Symphonie Orchester Berlin, in Brussels, with Budapest Festival Orchestra (Europe Tour), in Dijon, with the Gabrieli Consorts and Players London, Helsingborg Symphony Orchestra, in Lille, at London Royal Festival Hall, at London Wigmore Hall, with the Los Angeles Philharmonic Orchestra, in Luzern, at New York Carnegie Hall, in Paris, Salzburg, Stockholm and Strasbourg, and at the Verbier Festival.
Awards
AWARDS:
Editors Choice Gramophone
5 stars BBC music magazine
10/10Classicstodayfrance
10/10 Classicstoday USA
5 star Audiophile Audition
Diapason d'Or
Quotes
Great enjoyment and emotional pleasure.
(…) Where most conductors tend to overplay, Fischer delivers a personalized but liquid reading. At the same time, Fischer seems more relaxed in his handling of tempi and transitions. In his light leading of the BFO, the dynamics of the Fourth Symphony are revealed in a stunning manner.
(…) Fischer explores his own paths and is largely making sense to invite our undivided attention.
Sixmoons.com
Mahler. Geen componist van vergelijkbare importantie lijkt zó verbonden met ons land als Gustav Mahler. Dan deze uitvoering? ‘Another spectacular release in a Mahler discography that is shaping up to be as exciting as any since Bernstein’. (Gramophone, april 2009) Oeps, dat is nogal wat, maar ben het er wel mee eens.
Detail: het orkest speelt in zogenaamde Duitse opstelling, eerste violen, celli, alten, tweede violen (vlnr) en de contrabassen achter op het podium.
HVT
(...) “Das himmlische Leben“, in dem die Schwedin Miah Persson mit perfekter Textverständlichkeit und ihren glasklaren Sopran den von Mahler geforderten “kindlich heiteren Ausdruck“ sehr geradlinig und schnörkellos triff, sodass man keinerlei Zweifel hegt an der Wahrhaftigkeit ihres Berichts. (...)
(...) wunderbare, himmlische Schwerelosigkeit des Klangbilds (...)
Fono Forum
(...) man staunt wirklich über die fantastische Transparenz, Präzision und polyphone Klarheit seines exzellent eingestellten, vielstimmig miteinander dialogisierenden Budapest Festival Orchestras, das mit der Frische, Wachheit und Dynamik eines noch immer jungen, aber hochkultivierten Klangkörpers die ätherische Schwerelosigkeit dieser „himmelblauen“ Symphonie im schönsten, hell leuchtenden Farbenspiel eines konturenreichen Stimmengeflechts in die Lüfte malt, dabei aber immer geradezu akribisch die von Mahler geforderte Deutlichkeit und Prägnanz wahrt. Man spürt auf Schritt und Tritt den Ehrgeiz aller Musiker, das komplexe Innenleben von Mahlers Partitur möglichst seismographisch umzusetzen.
Die holographische Punktgenauigkeit des wunderbar ausbalancierten Klangbildes ist auch ein Verdienst des Tonmeisters und Produzenten C. Jared Sacks, der hier ein Meisterstück polyphoner Durchzeichnung in den Konverter zaubert. Das gilt auch für das enigmatische Liedfinale „vom himmlischen Leben“, in dem die Schwedin Miah Persson mit perfekter Textverständlichkeit und ihrem glasklaren Sopran den von Mahler geforderten „kindlich heiteren Ausdruck“ sehr geradlinig und schnörkellos trifft, so dass man keinerlei Zweifel hegt an der Wahrhaftigkeit ihres Berichts. So bleiben am Ende die Fragen eher offen als beantwortet und der Hörer im Ungewissen, so wie Mahler es wollte.
Hifistatement
(…) There is no better-conducted recording of Mahler's Fourth than this one. Fischer's achievement is extraordinary and the results he achieves unique, from transcendent tiny details to his larger conception... Fischer and Persson capture the music's innocence with unforgetable sweetness and joy.
Listen
(…) This disc bounds to the top of my recommended list of Mahler Fourths… As Fischer observes in his program note, 'There is a unique purity and transparency in Mahler's 4th Symphony.' That is equally true of this recording. (…)
Fanfare
(…) fantastische Transparenz, Präzision, und polyphone Klarheit seines exzellent eingestellten, vielstimmig mit einander dialogisierenden Orchestra, das mit der Frische, Wachheit und Dynamik eines noch immer jungen, aber hochkultivierten Klangkörpers die ätherische Schwerelosigkeit dieser ‘himmelblauen’ Symphonie im schönstem, heil leuchtenden Farbenspiel eines konturenreichen Stimmengeflechts in die Lüfte malt, dabei aber immer geradezu akribisch die von Mahler geforderte Deutlichkeit und Pränanz wahrt.
BR online
(…) Fischer encourages brisk tempos, clarity of texture, freshly voiced phrasing and a supple rubato, like water negotiating the twists and turns in a stream. The Budapest Festival Orchestra responds with life-enhancing spontaneity and the recording quality matches the transparency of Fischer’s vision to perfection. This is by far one of the most memorable and spring-cleaned Mahler performances of recent or indeed any time.
International Record Review
() In a crowded field his version demands a place of honor () () Part of the credit, naturally, belongs to Mr. Fischer's fine players, whose work is secure, poised and full of character. The Channel Classics recording team also deserves honor for the warm, vibrant sound. But in the end Mr. Fischer's efforts are paramount. Every balance, every tempo feels freshly considered and aptly judged; time and again expressive details leap out in sharp focus without distracting unduly. The result is a persuasive account that merits consideration among the very best. New York Times The Budapest Festival Orchestra retains some of that Mid- and East-European tone and allure, so right for this music. Piquant clarinets imitating trumpets and colorful horn playing are memorable. Fischer also gets the balance just right, between observing all the details in the score and yet getting a feeling of natural and unstultified breath in the architecture. These attributes are more than enough to justify this release in a crowded market place () Just superb. Audiophile Audition 5 *****
() There is no better-conducted recording of Mahler's Fourth than this one. Fischer's achievement is extraordinary and the results he achieves unique, from transcendent tiny details to his larger conception... Fischer and Persson capture the music's innocence with unforgetable sweetness and joy. Listen () Part of the credit, naturally, belongs to Mr. Fischer's fine players, whose work is secure, poised and full of character. The Channel Classics recording team also deserves honor for the warm, vibrant sound. But in the end Mr. Fischer's efforts are paramount. Every balance, every tempo feels freshly considered and aptly judged; time and again expressive details leap out in sharp focus without distracting unduly. The result is a persuasive account that merits consideration among the very best. New York Times
() Neben der gestalterischen Finesse ist es aber vor allem die klangliche Gestaltung, die diese Aufnahme zu einem exzellenten Hrerlebnis werden lsst. Denn Ivn Fischer schafft es, seinem Orchester eine bezaubernde Leichtigkeit des Klangs zu entlocken (die gerade der Vierten Sinfonie bestens ansteht), um dennoch, wo es ntig ist, die Krallen auszufahren. () Klassik.com
Ivan Fischer dans la 4e, c'est l'vidence d'un univers potique et d'un paradis perdu, c'est une palette lgre et vive, parfume, comme d'un Hongrois qui aurait tudi Vienne. Diapason d'Or
Waar haalt Fischer het vandaan? (...) Fischer geeft iets tastends en zoekends en daardoor heel spannends aan de muziek, waardoor je weer met frisse blik luistert naar Mahler's vermoedelijk populairste symfonie. (...) (...) De hemel gaat helemaal open in de finale, waar de Zweedse sopraan Miah Persson precies het juiste mengsel van verrukte onschuld en raffinement weet te leggen. Het orkestaandeel is ook daar heel precies, doorzichtig, prachtig van klank en geweldig mooi opgenomen (...) (...) hoeveel opnamen kennen we nu al van Mahlers IV? Kan er nog eentje bij, Deze wel, nou en of!! Luister
Mahler mit Kulleraugen Bestens ausbalanciert, transparent im polyphonen Geflecht: Mahlers Vierte ist unter Fischer ein vollendete orchestraler Genuss. (...) Eine vollklingende Aufnahme mit einer zauberhaften und ausdrucksstarken Miah Persson im Finalsatz. Pizzicato
() Dirigent Ivan Fischer is hard op weg een van 's werelds legendarische dirigent te worden () () een registratie van Mahler 4 die even diep- als eigenzinnig is () () En dan is er het enorme palet aan kleuren dat Fischer uit zijn orkest haalt. Naast de aloude pasteltinten staan kleuren met de felheid van neon- of laserlicht - en weer is het absoluut in de geest van Mahler. Het 3e deel, toch al het zwaartepunt van de symfonie, is helemaal adembenemend, eerst door zijn supervloeibare klanken, die later exploderen in groot drama () () Sopraan Miah Persson brengt het behaaglijke liedje over het hemelse leven fris en vrolijk Volkskrant
Il faudrait des pages pour dcrire tout ce que fait Ivn Fischer avec son Orchestre du Festival de Budapest dans la 4e Symphonie de Mahler. Le chef hongrois en traduit la transparence et la navet feinte sans perdre en densit du propos. Les textures sont fouilles, les cordes d'un velout sidrant, tout cela port par un calme, une mise en perspective sous lequel se dissimule un abme de mlancolie (mouvement lent). Miah Persson n'est pas aussi candide qu'on le souhaiterait dans le mouvement final, mais son chant anim, narratif, a le mrite de la clart. Le Temps
() With this third volume devoted to Mahler's symphonies, Ivan Fischer offers us an overwhelming vision of the fourth, making it his own. For, as he points out, Mahler's Fourth Symphony has an incomparable purity and transparency. The beautiful sleigh bells take us to the inner world of his childhood, with his dreams of angels, his fairy tales, his anguish and pure love of god. For this naive symphony, a different orchestra is needed. Without bass tuba, powerful trombones or an arsenal of hefty brass, it is in fact a chamber orchestra in which the clarinets play like ironic trumpets, the solo violin is accorded one tone higher in order to frighten us, and the lightness of the entire orchestra lifts us to a charming and childlike vision of paradise. () () After listening to this invaluable recording, the effect is quite simply miraculous. Soloists' balance, perfectly natural phrasing, details of the musical discourse lifted up as never before, as if suspended in space: its all there, and the impression of purity and transparency transforms the tones heard into veritable sonic poetry. The soprano Miah Persson participates in this feast of the senses with a voice that is both soft and fragile. Insofar as the sound, despite a somewhat low-level recording, it is first-class DSD, allowing the acoustics of the venue to blossom and breathe naturally. A great, a truly great Mahlerian. Bravo! Opus Haute Definition
Je viens d'couter quinze jours d'affile la nouvelle version de l'Orchestre du festival de Budapest dirig par Ivan Fischer et je la trouve exceptionnelle. Tant au niveau de l'orchestre, class rcemment par la revue anglaise Gramophone parmi les quinze meilleures formations du monde (si un tel classement a des raisons d'exister!?). Tant au niveau de la prise de son particulirement russie. Ivan Fischer, a l'art de faire sonner son orchestre avec clart et couleur (les deux ne sont pas incompatibles). Son phras est quelques fois trs surprenant et peut dranger au dbut (premier et troisime mouvements), ses fluctuations de tempi sont parfaitement doses et pertinentes (mme si elles sont oses) et sa rhtorique est bien celle de l'ironie entrecoupe de ces instants sublimes de sincrit. Chapeau au premier violon qui prend des allures de violoneux dans la danse macabre et la chanteuse qui chante avec une sincrit (selon les exigences de Mahler) ces propos paradoxaux. J'ai t transport chaque coute par cette sincrit qui fait de la Quatrime une toute grande symphonie de Mahler. A dcouvrir! Blog de J.M Onkelinx- en avant la musique ()
Fischer and his brilliant Budapest big band give us Mahler with the personal touch. () () Characteristically, danger and beauty go, vertiginously, hand in hand and equally characteristically, the orchestra sounds magnificent, abetted by stunning SACD sound. Gramophone - Editor's Choice
(...) De wonderen blijken toch de wereld nog niet uit te zijn. (...) (...) Fischer ontdoet de partituur van al haar receptiegeschiedenis en benadert de innemende maagdelijkheid van deze oase binnen Mahlers symfonische corpus als geen ander. (...) Fischer weet het intieme en kamermuzikale van het notenschrift zo schitterend in klank om te smeden, met als gevolg dat de dynamische scherpte binnen de stemmen onderling (daarbij natuurlijk geholpen door de voorbeeldig geslaagde Superaudio-opname) ideaal profiel krijgt. Voorts lijkt het wel alsof Fischer zich verre houdt van om het even welke interpretatie en integendeel: er juist optimaal voor waakt, dat er ook maar iets tussen hem en de noten komt in te staan wat er niet in thuishoort. Ook komt niets bestudeerd over, want spontaneteit en nog eens spontaneteit is wat hier onafgebroken de klok slaat, zodat het ideaal dat Mahler voor ogen stond, te weten het in muziek verbeelden van de wereld van het kind, subliem is gerealiseerd. Inderdaad in al zijn onbevangenheid. En daar past ook het ongerepte aplomb bij waarmee, vlak voor de verstilde coda van het - bij Fischer heel natuurlijk voorstromende - adagio de hemelpoorten worden geopend en er zich voor ons geestesoog inderdaad een Luilekkerland ontvouwt als nooit tevoren. (...) Zonder meer een witte raaf in de Mahler-discografie. www.opusklassiek.nl
(...) wanneer dirigent Ivan Fischer en zijn Budapest Festival Orchestra met een Vierde symfonie van Mahler op de proppen komen, is luisteren verplicht, want Fischer is een dirigent die altijd weet te verrassen, zelfs in het meest platgespeelde repertoire. Ook zijn Vierde symfonie van Mahler is weer anders dan anders. De tempi in het eerste deel zijn opmerkelijk vlot, de balans tussen de instrumenten doet vaak de oren spitsen, omdat Fischer steeds net weer andere details naar voren haalt dan je van oudere opnamen kent. Als geheel benadert hij de symfonie nadrukkelijk als kamermuziek, wat met name in het langzame deel tot wonderschone resultaten leidt. (...) Parool
Nostalgische toon (...) Fischer kiest zoveel mogelijk voor een kamermuziekachtige benadering. De combinatie van ontspanning en intensiteit geeft optimaal ruimte aan gevoelens van nostalgie. Uitbarstingen en momenten van sinisterheid sorteren des te meer effect. Het scherzo heeft zelden zo delicaat geklonken, het adagio zo volmaakt rustig en berustend. In de finale bezingt Miah Persson het hemelse leven. De Zweedse sopraan weet op slim volwassen wijze vorm te geven aan de kinderlijke onschuld. Knap gedaan. Telegraaf
() Technically, this recording and the sound quality is superb, the Budapest Festival Orchestra perform as a sensitive and powerful ensemble evoking sound textures that I have never before heard in Mahler's fourth symphony. However, the surprising dynamics and different consistencies of tone are certainly due to Ivan Fischer's somewhat contentious and personal understanding of the work. Mahler traditionalists may that feel there is not enough emotive force - but I like it, it is fresh, full of colour and perfect for a new audience. Classic Fm
(...) een opmerkelijk anders klinkende Vierde Symphony die Mahleriaanser klink dan Mahler. Deze transparante Vierde lijkt alleen op deze super audio cd te kunnen bestaan, elk instrument is apart hoorbaar zonder de menging van akoestiek. Hoe zal het zijn als Ivan Fischer in 2010 de vierde dirigeert bij het Concertgebouworkest? NRC/Handelsblad
(...) Ivan Fischer is nuchter, bij hem geen vertoon van loze gevoeligheid. Hij is spaarzaam in zijn vertragingen, dan liever stevige, vaste tempi. Niet meteen aan het eind van maat 3 van deel 1 al een reusachtig rallentado maar gewoon sierlijk en lichtjes eroverheen. Ook dat gaat goed. De Zweedse sopraan Miah Persson bezingt in deel IV 'die himmlischen Freuden'. Snel en frisjes, soms bijna buiten adem, maar het brengt leven in de tekst. Financieel Dagblad ()
Fischer's feeling of the Symphony's supple architecture, his ability to caress a phrase or point out a delicious colour without losing the sense of that larger flow, make this one of the most musically satisfying recordings to appear in a long time. BBC Music Magazine It's provocative, iconoclastic performance, and highly recommended. Guardian
() Und man staunt wirklich ber die fantastische Transparenz, Przision, und polyphone Klarheit seines exzellent eingestellten, vielstimmig miteinander dialogisierenden B.F.O., das mit der Frische, Wachheit und Dynamik eines noch immer jungen, aber hochkultivierten Klangkrpers die therische Schwerelosigkeit dieser, himmelblauen' Symphonie im schnsten, hell leuchtenden Farbenspiel eines konturenreichen Stimmengeflechts in die Lfte malt, dabei aber immer geradezu akribisch die von Mahler geforderte Deutlichkeit und Prgnanz wahrt. Bayrische Rundfunk Online
(…) Ivan Fischer offers us an overwhelming vision of the fourth, making it his own.
(…) Without basse tuba, powerful trombones or an arsenal of hefty brass, it is in fact a chamber orchestra in which the clarinets play like ironic trumpets, the solo violin is accorded one tone higher in order to frighten us, and the lightness of the entire orchestra lifts us to a charming and childlike vision of paradise. After listening to this invaluable recording, the effect is quite simply miraculous. Soloists' balance, perfectly natural phrasing, details of the musical discourse lifted up as never before, as if suspended in space: its all there, and the impression of purity and transparency transforms the tones heard into veritable sonic poetry. The soprano Miah Persson participates in this feast of the senses with a voice that is both soft and fragile. Insofar as the sound, despite a somewhat low-level recording, it is first-class DSD, allowing the acoustics of the venue to blossom and breathe naturally.
A great, a truly great Mahlerian. Bravo!
Opus HD
Wanneer dirigent Ivan Fischer en zijn Budapest Festival Orchestra met een Vierde symfonie van Mahler op de proppen komen, is luisteren verplicht, want Fischer is een dirigent die altijd weet te verrassen, zelfs in het meest platgespeelde repertoire.
Ook zijn Vierde symfonie van Mahler is weer anders dan anders. De tempi in het eerste deel zijn opmerkelijk vlot, de balans tussen de instrumenten doet vaak de oren spitsen, omdat Fischer steeds net weer andere details naar voren haalt dan je van oudere opnamen kent. Als geheel benadert hij de symfonie nadrukkelijk als kamermuziek, wat met name in het langzame deel tot wonderschone resultaten leidt.
Parool
(…) een registratie van de Vierde die even diep- als eigenzinnig is (…)
(…) En dan is er het enorme palet aan kleuren dat Fischer uit zijn orkest haalt. Naast de aloude pasteltinten staan kleuren met de felheid van neon- of laserlicht, en weer is het absoluut in de geest van Mahler.
(…) Het derde deel, toch al het zwaartepunt van de Symfonie, is helemaal adembenemend, eerst door zijn super vloeibare klanken, die later exploderen in een groot drama.
(...) sopraan Miah Person brengt fris en vrolijk het behaaglijke liedje over het hemelse leven aan het slot, waar Fischer de lammetjes en de ossen klaaglijk laat blaten en loeien.
Volkskrant
Décidément, Ivan Fischer s’impose comme le chef à suivre aujourd’hui: parmi ses nombreux enregistrements pour Channel Classics, pas un n’est descendu sous la barre de l’excellent. Cette Quatrième symphonie de Mahler parfaite, merveilleusement poétique et équilibrée, sans aucun défaut ni aucune affectation, s’élève au niveau des meilleures références. (…)
(…) Fischer et de ses musiciens hongrois réaliser un parfait compromis entre candeur, poésie et précision, sans que rien ne vienne vraiment troubler notre plaisir. (…)
(…) Miah Persson livre une prestation très satisfaisante, certes moins miraculeuse que le travail des instrumentistes, mais sans tâche et sans défaut, avec une prononciation fort acceptable et surtout un refus de la fausse candeur déplacée. L’accompagnement est à l’avenant: renouant avec une tradition qui a eu tendance à se perdre, Fischer adopte des tempi très vifs qui nous paraissent bien convenir.
Classique Info
I would without hesitation place it at the very top of the list. It is that good! This is largely because it sounds so natural. Fischer has developed his orchestra into a world-class ensemble with rich but luminous strings and wonderful winds. The recording balances everything with perfection and nothing sounds in the least bit contrived, but the symphony comes up fresh minted - an over-used phrase, but pertinent here. Fischer convinces as a real Mahlerian, with a judicious but very natural employment of rubato.
Music Web
Format
SACD stereo multichannel - normal pcm & High rez download
Bandoneón player Alfredo Marcucci has died June 12, 2010 in Landen, Belgium at age 81.
Alfredo Marcucci was taught the profession by his uncle, the great Bandoneón player Carlos Marcucci. Since 1947 Alfredo played in the big orchestras of the time: Raúl Kaplún, Carlos di Sarli, Julio de Caro. At the end of the 1950's, when the Tango got less popular he toured the world with the folklore group Los Paraguayos for 15 years. After meeting his Dutch wife he chose to stop playing professionally and starts working in a factory to be able to support his family. In 1986 he was able to retire and starts Orquesta Típica. He taught Leo Vervelde and Carel Kraayenhof, Sexteto Canyengue the art of the Bandoneón. A "second youth" starts and with Channel Classics he played in 6 projects like: ‘Timeless Tango’, ‘Touched by Tango’ and in 2004 - in honor of his 75th birthday, - ‘a life of Tango’.
It was a wonderful experience to work with Alfredo these last 13 years. Put his bandoneon in his hands was like seeing a small boy with his favorite toy. His music and musical timing was extraordinary. For all the musicians that have worked with him, I can speak for them that Alfredo will be sorely missed.
Jared Sacks
DUTCH:
Grootmeester van de Tango
Bandoneón speler Alfredo Marcucci is op 12 juni 2010 in zijn woonplaats Landen in België op 81-jarige leeftijd overleden.
Alfredo Mrcucci leerde het vak op 7-jarige leeftijd van zijn oom, de grote Argentijnse bandoneónist Carlos Marcucci. Vanaf 1947 speelde hij in de grote orkesten van die jaren: Raúl Kaplún, Carlos di Sarli, Julio de Caro. Het was de tijd van de dansfeesten, tango-salons, radio-optredens en 78-toerenplaten. Als eind jaren vijftig de tango in het slop raakt en Marcucci de op dat moment wereldberoemde folkloregroep Los Paraguayos ontmoet reist hij met hen vijftien jaar lang de wereld over. Nadat hij zijn Nederlandse vrouw ontmoette besloot hij een punt te zetten achter het artiesten bestaan en ging in een fabriek werken om zijn gezin te kunnen onderhouden. In '86 mocht Marcucci met vervroegd pensioen en richtte Orquesta Típica op. Onder meer Leo Vervelde en Carel Kraayenhof van Sexteto Canyengue gingen bij hem in de leer. Een ‘tweede jeugd’ brak aan en bij Channel Classics verschenen ‘Timeless Tango’, ‘Touched by Tango’ en in 2004 - ter ere van zijn 75ste verjaardag- ‘a life of Tango’.
August 2010
Brahms Piano Concerto no. 3
Dejan Lazic; Atlanta Symphony
Robert Spano. Channel Classics
Brahms was famously casual about performance instructions for his own compositions. And, following Bach and Beethoven before him, both of whom recast their violin concertos using keyboard protagonists - he wasn't at all averse to arrangements of his music in other - than- original instrumentations, and indeed reworked his late clarinet sonatas for repertoire - starved violists.
If the notion of replacing the violin with the piano in his magisterial Opus 77 concerto probably wouldn't have bothered old Johannes, it's still likely to startle today's concert audiences. Fortunately Dejan Lazic's 2008 rendering of the work as a piano concerto (here in its first recording) is amazingly effective. It leaves the orchestration untouched and transforms the solo violin part into idiomatic Brahmsian piano figurations with appropriately rich chordal sonorities, sparkling arpeggios, and a fully elaborated first-movement cadenza. Lazic plays with flair, eloquence, and, in the lovely central adagio songful poetry.
Recorded 'live in concert' the hybrid SACD conveys full throated weight and a judicious balance between soloist and orchestra, with the multichannel encoding offering extra ambience and presence.
Mark Lehman
Brahms / Lazic, Klavierkonzert Nr. 3
Lazic, Atlanta Symphony Orchestra, Spano (2009)
Ein neues Klavierkonzert von Brahms?
Kann man (und darf man) ein solch populäres Meisterwerk wie Brahms’ Violinkonzert 130 Jahre nach seiner Niederschrift einfach in ein Klavierkonzert verwandeln? Oder haben nicht auch musikalische Werke eine unantastbare Identität? Das waren meine ersten Gedanken, als ich Dejan Lazics neue SACD mit der Aufschrift „Piano Concerto No.3“ in der Hand hielt. Schon nach dem ersten Satz waren meine Zweifel schnell verflogen, denn hier hat sich ein junger, hochbegabter Pianist mit ernsthaften kompositorischen Ambitionen und großem Geschick der schier unlösbaren Herausforderung gestellt und in einem fünf Jahre (!) währenden Arbeitsprozess das unbequeme Violinmonstrum in ein ähnlich symphonisch geprägtes Klavierkonzert umgeschrieben. Als „Inspirationsquellen“ nennt Lazic Beethoven und Bach, die hätten ja Ähnliches mit ihren Violinkonzerten angestellt. Wer beispielsweise die Klavierversion von Beethovens Violinkonzert kennt, wird überrascht sein, wie einfühlsam, stilsicher, pianistisch phantasievoll und dabei hochgradig skrupulös der 32-jährige Kroate den zumeist einstimmig-melodiösen Violinpart für die Hände des Pianisten erweitert hat – nämlich so behutsam, dass man nur an wenigen Stellen über die schwächere Ausdruckskraft des Klaviers irritiert ist. Doch der Grundcharakter des Werks bleibt gewahrt, so sehr gewahrt, als sei es eine Eigenbearbeitung von Brahms.
Natürlich versucht Lazic auch als Interpret, durch expressive Agogik und abgetöntes Spiel zu kompensieren, dass die Kantabilität des Violinklangs für einen Pianisten unerreichbar ist; und es gelingt ihm, mit seiner wunderbaren eigenen Kadenz den großen lyrischen Bogen zu spannen. Das Atlanta Symphony Orchestra unter Robert Spano steuert den originalen Orchesterpart zu diesem gelungenen Experiment mit eher amerikanisch anmutender Klangsinnlichkeit bei und gibt sich dabei so abgeklärt und professionell, dass man den Livemitschnitt für ein Studioprodukt halten könnte.
Auf alle Fälle hat Lazics „drittes“ Brahms-Konzert ein Weiterleben in europäischen Konzertsälen verdient, und es könnte auch für andere Pianisten interessant sein. Brahms hätte es bestimmt gefallen.
Manuel de FALLA (1876–1946)
Spanish Dance (from La vida breve) (1905) [3:23]
El amor brujo (1916 version) [23:04]
Excerpts from El sombrero de tres picos (1919): Danza del molinero; Danza de los vecinos; Danza de la molinera [9:35]
Siete canciones populares españolas (1914): El paño moruno; Seguidilla murciana; Asturiana; Jota; Nana; Canción; Polo [12:16]
Homenaje (from Le tombeau de Claude Debussy, 1920) [3:07]
Tus ojillos negros (1903) [3:50]
Peter and Zoltán Katona (guitars); Juanita Lascarro (soprano); David Garcia Mir (percussion)
rec. Doopsgezinde Kerk, The Netherlands 2008
CHANNEL CLASSICS CCS SA 28809 [57:00]
Imagine well-dressed gentlemen and old ladies in furs and jewels, coming to listen in concert to some respectable Mass – Cherubini’s, for example. Suddenly they hear about a change in the program, and are presented with the Misa flamenca! A similar shock is in store for you on this disc.
Dedicated to the music of Manuel de Falla, this disc contains the entire El amor brujo (in its later, more “civilized” ballet form), the irresistible Seven Popular Spanish Songs, and a few other pieces, including three dances from The Three-Cornered Hat and the ubiquitous Spanish Dance from La vida breve. In brief, the most Spanish of all the Spanish music. So, the program is quite standard – but the arrangements aren’t! In addition to the two guitars played by Peter and Zoltán Katona, and the mezzo-soprano (in the songs and the vocal numbers of El amor brujo), there is a lot of diverse percussion. Moreover, in several parts of El amor brujo we hear electric guitars! Did I like it? Yes and no. I loved the added percussion – very colorful and inventive. But the electric guitars seem a bit out of place sometimes – and I do not feel musical unity in the cycle, since the electric guitars grab the stage in some numbers and disappear in others. The style jumps hither and yon and back again.
Manuel de Falla’s music appears born to be played on guitar. The short and frequent notes, the clear articulation, the stomping chords, the tremolos – it is hard to believe that it was not initially written for the instrument. This is especially noticeable in the Seven Songs, where the original piano arrangement imitates the guitar. These arrangements liberate the hidden spirit of the music.
The introduction to El amor brujo immediately shows the two strong points of this disc: the sonorous, strong guitar sound (the tadimm-tudamm tadimm-tudamm motif has orchestral power), and the constant presence of the percussion. The following Night in the Cave introduces the electric guitars and is all recyclable plastic, after which we go to flamenco singing in Cancion del amor dolido. All this creates a feeling of a big mix, which continues throughout the entire cycle. It’s a bit uncomfortable. I liked the arrangement solutions in the classical-guitar parts: very rhythmic, propelled by the percussion. In the vocal numbers, Juanita Lascarro does a very good job. She does not descend to the depths of the throat like an authentic flamenco cantaora, but also does not have the superficial opulence of some opera-house singers. Her voice has a natural beauty and roundness. She is recorded a bit remotely, which creates a feeling of stage action. Escena (track 10) is another dubious electric experiment, but the surrounding Danza ritual del fuego and Pantomima are well done, the former with good contrast, the latter sensitive and letting the music breathe.
Out of El Sombrero de tres picos we have three dances. The Miller’s Dance has a virile, rather arrogant, character. Some percussion effects give it a more sinister hue than usual. The Dance of the Neighbors is sunny and good-humored, relaxed, very well arranged and played. The Dance of the Miller’s Wife is, regrettably, too hard-driven and loses its voluptuous, Carmen-like appeal. The percussion try to substitute depth with quantity but lack subtlety. Instead of a dance, the Miller’s Wife seems to be enjoying an exciting horse ride. The same can be said of the opening track of the disc, the Spanish Dance from La vida breve. The guitars and percussion do not always blend well. However, the percussion effects definitely make the music more interesting, although probably less emotional.
But I can say without reservation that in the Seven Popular Songs the arrangers’ approach bears wonderful unique fruit. In the main this is due to the beautiful singing of Juanita Lascarro, her voice strong and velvety, like a clarinet. The accompaniment is well-planned and well-measured. The percussion never dominate, yet they add illuminating detail. The entire construction is open and colorful: an Eiffel Tower of music!
The two last pieces on the disc dispense with the percussion. First comes the purely instrumental Homenaje – the only piece de Falla actually wrote for guitar! It is soft and delicate, like the music of Debussy to whose memory it was dedicated. Last, Juanita Lascarro grants us a radiant performance of the beautiful song Tus ojillos negros. It has one of de Falla’s unforgettable tunes. The two guitars are like two additional singers - a perfect close for the album.
The sound of the guitars is orotund and resonant, well articulated yet not dry, without any extraneous noises, powerful when required and delicate when needed. The recording is clear, though I would prefer the percussion to have been a little more recessed: at some moments it eclipses the guitars. The insert notes speak sufficiently about the performers, but not enough about the works. And no texts of the songs, either.
The bottom line: I would not recommend this disc as the only recording of El amor brujo, but it offers a very interesting and indeed unique alternative view. The songs are first class, with some great singing and sensitive playing. I am very happy that discs like this continue to appear – giving new perspectives on ‘old’ music. This cannot be called a crossover: it’s just a fresh approach. With efforts like this, classical music will never fossilize.
