Elegiac, passionate, and full of virtuosity!
Gaetano | 01/07/2009
(5 out of 5 stars)
"The sixth volume in Bridge's The Music of Elliott Carter series presents works from two very disparate periods of compositional creativity from the venerated American composer - that from his early neo-classical period utilizing his full training in harmony and counterpoint a la Nadia Boulanger, and his very late works showcasing his mastery of atonal, polyrhythmic arabesques.
The Violin Concerto was written in 1990, and was dedicated to Herbert Blomstedt and the soloist, Ole Bohn (I highly recommend checking out the latter's premiere recording, re-issued on EMI's budget line `American Classics' which includes a superlative performance of the said concerto, the incredible Concerto for Orchestra, and Three Occasions for Orchestra). The Bridge recording features the Odense Symphony Orchestra under the baton of Justin Brown with Rolf Schulte acting out the exciting violin part. From the opening orchestral tutti, Carter's music is an exciting roller coaster ride. The work is in three movements, and Carter's indications - I. impulsivo, II. Tranquillo/Angosciato, III. Scherzando - at least superficially imply adherence to the architecture of the classical concerto format. The notes written by Malcom MacDonald even suggest that the work hints toward the key of D. The musicianship and sound quality, to my ears, is superb.
Next up, we have four short pieces for unaccompanied violin conceived as a unified cycle. At least three of the four were written between 1999 and 2000; the sole exception written in 1984. As the title 'Four Lauds for solo violin' suggests, each movement alludes to a specific musical figure - Geoffredo Petrassi, Aaron Copland, Robert Mann, and Roger Sessions. They are superb works filled with melancholy, respect, and fiery passion. The contrast and coherence achieved by virtuosic pizzicatos, triple stops, and sustained elegiac notes will grab your attention and never let go. The music projects clearly. If you are averse to some of Carter's work that can be perceived as overly busy and crowded, I suggest you give this cycle a try.
The Holiday Overture written in 1944 (revised 1961) finishes this program. It is a joyous piece in the traditional sense, but one that feels utterly quaint after listening to his later works that precede it. It is interesting how this CD is programmed such that his later works are to be played before his very early works (as opposed to the first CD in `The Music of Elliott Carter' and the Nonesuch CD featuring the Cello Sonata and the Double Concerto).
My highest recommendations.
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