Rosanne Philippens plays Prokofiev

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Tracklist

1.
Violin Concerto no 2 in g minor - alegro moderato
10:45
2.
Violin Concerto no 2 in g minor - Andante assai
09:40
3.
Violin Concerto no 2 in g minor - Allegro, ben marcato
06:24
4.
Violin Sono Sonata in D - Moderato
05:43
5.
Violin Sono Sonata in D - Andante dolce
04:09
6.
Violin Sono Sonata in D - Con brio
03:52
7.
Five Melodies op. 35bis - Andante
02:19
8.
Five Melodies op. 35bis - Lento
02:52
9.
Five Melodies op. 35bis - Animato
03:41
10.
Five Melodies op. 35bis - Allegretto leggero e scherzando
01:29
11.
Five Melodies op. 35bis - Andante non troppo
03:21
12.
The Love for Three Oranges op. 33 - March
01:34
13.
Piano Sonata no. 4 2nd movement - Andante
08:29

Description

Is Prokofiev ‘the composer with the mask’, as one of his biographers described him? It seems likely, if you read many people’s descriptions of his character. Those who knew him tell of his unfathomableness, his imperturbability and his sometimes detached analysis. Shostakovich castigated him in his biography: Prokofiev is close-lipped, haughty, a spoilt child prodigy always on the lookout for a quarrel.

His music, however, speaks a different language. It possesses an often fairytale-like beauty in which deep emotions surge. If we look at his life history, and especially his wanderings through a wide range of cultures, much becomes clear.

Prokofiev came from a well-to-do family in which his mother immersed him in music. She took him to faraway Saint Petersburg, where they often attended concerts. In 1904, at the age of thirteen, he began to study piano at the local conservatory. Music occupied him greatly, political events less. Thus the 1905 revolution escaped his attention, even though his teachers Rimsky-Korsakov and Glazunov became entangled in political intrigues. He wrote to his father about how he saw all sorts of youths going around in groups ‘without a clear purpose’.

(Read more in the booklet.)

Additional information

Artists

Recording date

June 2016

Digital to analog converter

Merging Horus

Mastering equiment

Pyramix

Mastering engineer

Jared Sacks

Cables

van den Hul

Mixing console

Rens Heijnis custom made

Microphones

Bruel & Kjaer 4006, Schoeps

Recording notes

Assistant recording engineer Annemiek Dirkzwager

Recording format

DSD64

Analog to digital converter

Grimm A/D

Recording location

St. Gallen Switzerland, MCO Hilversum, The Netherlands

Composers

Editing

Jared Sacks

Recording engineer

Jared Sacks

Production

Jared Sacks

Type

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Format

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Label

Genre

,

Conductors

Speakers

Grimm LS1, Audiolab

Press reviews

Music Emotion

(…) een twee-eenheid optima forma. (Rosanne Philippens en dirigent Otto Tausk ) Dat is ook het geval in de werken waar Rosanne begeleid wordt door de Franse pianist Julien Quentin. De opname van Jared Sacks is als altijd: top!

Paul Witteman – TV Show Host ‘Podium Witteman’

(…) Rosanne strijkt anders. Zonder veel tierelantijnen, helder en recht. Ze is de aankomende vioolvedette die het verdient om een reuzesuccesnummer te worden.

Luister [9] 5.5555555555556 out of 5

Philippens komt met de deur in huis vallen en trekt ons vanaf de eerste noot in de muziek. (…) gecontroleerde roekeloosheid (…) De opname is een waar spektakel

Artsfuse

(…) on this album Philippens proves herself a fiddler well worth following: her tone is robust and warm, technical abilities impressive, interpretive sense keen, and the musicality she displays is top-drawer.

BBC Music Magazine [Concerto Choice, Jan 2018] 5 out of 5

Quite a double whammy, this. Not only is the programme as a whole both satisfying and unusual, but also Rosanne Philippens’s startling partnership with the excellent St Gallen Symphony Orchestra and Otto Tausk puts her Prokofiev Second Violin Concerto right at the top of the many recent recordings – her (Dutch) compatriot Janine Jansen’s included. This most natural of concerto recordings was made in St Gallen’s Tonhalle, which must be very fine on this evidence. (…) Interpretative poetry and excitement

Pizzicato

Dutch violinist Rosanne Philippens presents a nicely structured Prokofiev program. Her playing is vigorous as well as profound and expressive. Pianist Julien Quentin as well as the orchestra from St. Gallen under the baton of Otto Tausk are equally good, so that this disc is really appealing.

De Gelderlander

De eerste twee delen van het Tweede vioolconcert in g, opus 62 uit 1934 spreken boekdelen. De opbouw is grandioos. Geen enkel detail blijft onbelicht, terwijl de grote lijnen nooit uit het zicht verloren worden. Philippens weet het gouden randje in de klank van haar viool telkens weer naar de oppervlakte te halen. (…) De combinatie van het concertrepertoire met de kamermuziek doet het ook goed. Samen met pianist Julien Quentin brengt Rosanne Philippens een betoverende vertolking van Five Melodies, opus 35bis. (…) een daredevil die verdraaid goed weet wat ze doet!

Fono Forum

Rosanne Philippens ist eines der vielversprechendsten Geigentalente aus den Niederlanden, das bestätigt dieses Prokofjew-Programm. Im zweiten Violinkonzert stellt sie die Kontrastspannung zwischen Kantabilität und Virtuosität schön heraus. Die Solosonate klingt wie ein kleines Meisterwerk. In den Fünf Melodien (…) entdecken Philippens und ihr Klavierpartner Quentin kammermusikalische Intimität.

De Volkskrant 6.25 out of 5

(…) Opnieuw heeft Rosanne Philippens een juweel van een cd gemaakt. (…) Ze maakt de melodie persoonlijk, met kleine glijertjes tussen de tonen en een klankintensiteit die je niet los laat. (…)

Klassieke Zaken (Aangenaam Klassiek)

(…) De violiste van de ‘bezielde viooltoon’ zet Prokofjev niet alleen neer als een kind van zijn tijd, maar vooral als mens van vlees en bloed. En dat beklijft.

Opus Klassiek

Ze speelt flamboyant, gaat voluit, zoekt onbeschaamd de tegenstellingen in deze muziek op maar weet die wel perfect te doseren. Dat kan alleen als de technische aspecten van het vioolspel – zoals hier – ten volle worden beheerst.

Audiophile Audition

(…) A beguilingly varied program that’s a showcase for violinist, composer, and orchestra alike. (…)

Musicweb International

Rosanne Philippens’s playing is totally assured, both technically as well as lyrically beautifully. The support from the Swiss orchestra is fully idiomatic.

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