Rezension klassik.com 01.02.2012 | Benjamin Künzel | February 1, 2012 Perlen aus den Rundfunkarchiven
Diese Veröffentlichung beim Label Audite ist kein überflüssiger,...
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Rezension klassik.com 01.02.2012 | Benjamin Künzel | February 1, 2012 Perlen aus den Rundfunkarchiven
Diese Veröffentlichung beim Label Audite ist kein überflüssiger,...
Rezension klassik.com 01.02.2012 | Benjamin Künzel | February 1, 2012 Perlen aus den Rundfunkarchiven
Diese Veröffentlichung beim Label Audite ist kein überflüssiger,...
Rezension klassik.com 01.02.2012 | Benjamin Künzel | February 1, 2012 Perlen aus den Rundfunkarchiven
Diese Veröffentlichung beim Label Audite ist kein überflüssiger,...
Rezension nobilis Januar 2012 | Jörg Worat | January 1, 2012 Skandinavischer Meister
Die Musik des Norwegers Edvard Grieg passt zur Jahreszeit: Sie ist nicht grell...
Rezension nobilis Januar 2012 | Jörg Worat | January 1, 2012 Skandinavischer Meister
Die Musik des Norwegers Edvard Grieg passt zur Jahreszeit: Sie ist nicht grell...
Rezension DeutschlandRadio 01.02.2012 | February 1, 2012 International Classical Music Award 2012 für historische Aufnahmen aus dem RIAS-Archiv
Die Edition "Ferenc Fricsay conducts Béla Bartók • The Complete RIAS Recordings" aus den Archiven des Deutschlandradios erhält den International Classical Music Award (ICMA) 2012 in der Kategorie Historische Aufnahmen. Die CD-Box enthält zum größten Teil unveröffentlichte Aufnahmen des RIAS der Jahre 1950 bis 1953 mit Ferenc Fricsay und dem RIAS-Symphonie-Orchester, dem heutigen Deutschen Symphonie-Orchester Berlin. Sie wurde im Februar 2011 veröffentlicht und ist Bestandteil einer Reihe, die in Zusammenarbeit von audite mit Deutschlandradio Kultur bislang ca. 50 CD-Editionen hervorgebracht hat. Bereits vor zwei Jahren hatte aus dieser Reihe die "Edition Friedrich Gulda" mit dem MIDEM Classical Award eine hohe internationale Würdigung gefunden.
Die vorliegende Anthologie der Bartók-Aufnahmen Ferenc Fricsays für den RIAS Berlin dokumentiert ein Gipfeltreffen berühmter ungarischer Solisten: die Pianisten Géza Anda, Andor Foldes, Louis Kentner und der Geiger Tibor Varga. Fricsays bewährter und kongenialer Gesangssolist ist Dietrich Fischer-Dieskau. Der Dirigent Ferenc Fricsay gilt als authentischer Interpret der Werke Béla Bartóks, was dem Wert der Einspielungen zusätzliches Gewicht verleiht. In der klanglichen Präsentation überzeugt die Edition durch äußerst sorgfältiges Remastering der originalen Masterbänder.
Nach zahlreichen anderen Auszeichnungen, etwa dem "Preis der deutschen Schallplattenkritik" 2/2011 gewinnt die Edition "Ferenc Fricsay conducts Béla Bartók" mit dem International Classical Music Award (ICMA), dem Nachfolger des MIDEM Classical Award, nun eine der höchsten internationalen Auszeichnungen der Musikszene. Die Classical Awards werden jährlich von einer unabhängigen Jury vergeben, der Musikjournalisten führender internationaler Musikmagazine, Radiosender und Musikinstitutionen angehören.
Die Preisverleihung findet am 15. Mai 2012 in Nantes statt.
Die vorliegende Anthologie der Bartók-Aufnahmen Ferenc Fricsays für den RIAS Berlin dokumentiert ein Gipfeltreffen berühmter ungarischer Solisten: die Pianisten Géza Anda, Andor Foldes, Louis Kentner und der Geiger Tibor Varga. Fricsays bewährter und kongenialer Gesangssolist ist Dietrich Fischer-Dieskau. Der Dirigent Ferenc Fricsay gilt als authentischer Interpret der Werke Béla Bartóks, was dem Wert der Einspielungen zusätzliches Gewicht verleiht. In der klanglichen Präsentation überzeugt die Edition durch äußerst sorgfältiges Remastering der originalen Masterbänder.
Nach zahlreichen anderen Auszeichnungen, etwa dem "Preis der deutschen Schallplattenkritik" 2/2011 gewinnt die Edition "Ferenc Fricsay conducts Béla Bartók" mit dem International Classical Music Award (ICMA), dem Nachfolger des MIDEM Classical Award, nun eine der höchsten internationalen Auszeichnungen der Musikszene. Die Classical Awards werden jährlich von einer unabhängigen Jury vergeben, der Musikjournalisten führender internationaler Musikmagazine, Radiosender und Musikinstitutionen angehören.
Die Preisverleihung findet am 15. Mai 2012 in Nantes statt.
Rezension www.crisismagazine.com February 21, 2012 | Robert R. Reilly | February 21, 2012 Back to the Future
I have inadvertently joined a cult. No, that’s not right. Perhaps I should say...
Rezension Gramophone March 2012 | John Warrack | March 1, 2012 Stuttgart professor explores parallels from two Russians
Though the booklet-note writer declares that between Stravinsky and Shostakovich there is a “disparity in the conception of musical art which could not be greater”, they actually share qualities that make this a fascinating record. One is the love of dance rhythms.
It is obvious in the use of some of Tchaikovsky's songs and piano pieces for Stravinsky's Divertimento based on his ballet The Fairy's Kiss, and it is again strongly present in the klezmer-like Allegretto of Shostakovich's powerful Sonata; all seized upon with great brio here, as they need to be. There is also the invocation of earlier composers, with Stravinsky's exuberant Tchaikovsky transformations and with Shostakovich's profound homages to Bach.
Ingolfsson and Stoupel draw the Bach inspiration out in the deceptively straightforward opening Andante and in the long Largo finale to Shostakovich's Sonata, a marvelous, haunting piece of extended musical thought which is handled with superb control. There is also a less readily identifiable but very Russian sense of energy in the more vigorous dance music, which can seem to be on the verge of breaking out of control, especially in the Shostakovich's central movement. Both composers also respond to the inspiration of bell sounds, something again very Russian and vividly invoked here.
These are both strong, perceptive performances, recorded closely and lucidly, in which the complicated ambiguities in the music of both composers take hold powerfully below the sometimes jaunty surface.
It is obvious in the use of some of Tchaikovsky's songs and piano pieces for Stravinsky's Divertimento based on his ballet The Fairy's Kiss, and it is again strongly present in the klezmer-like Allegretto of Shostakovich's powerful Sonata; all seized upon with great brio here, as they need to be. There is also the invocation of earlier composers, with Stravinsky's exuberant Tchaikovsky transformations and with Shostakovich's profound homages to Bach.
Ingolfsson and Stoupel draw the Bach inspiration out in the deceptively straightforward opening Andante and in the long Largo finale to Shostakovich's Sonata, a marvelous, haunting piece of extended musical thought which is handled with superb control. There is also a less readily identifiable but very Russian sense of energy in the more vigorous dance music, which can seem to be on the verge of breaking out of control, especially in the Shostakovich's central movement. Both composers also respond to the inspiration of bell sounds, something again very Russian and vividly invoked here.
These are both strong, perceptive performances, recorded closely and lucidly, in which the complicated ambiguities in the music of both composers take hold powerfully below the sometimes jaunty surface.
Rezension BBC Radio 3 11. February 2012 | Helen Wallace and Andrew McGregor | February 11, 2012 BROADCAST CD review
Our next recital, Shostakovich and Stravinsky with Judith Ingolfsson and Vladimir Stoupel, is an unusual combination. It is a brave thing to put the two works together, but it is really illuminating. I think the ambiguity of both works comes through by putting them next to each other. What I love about Judith Ingolfsson is that she has this really sensual penetrating tone, and it brings out the Tchaikovsky behind the Stravinsky in the Divertimento, which is based on the ballet “Le baiser de la fée”. She brings Tchaikovsky back to life with this very sensual approach and it works fantastically. So many people treat Stravinsky performances rather cool and dry, but she goes the opposite way and it really pays dividends…
[Stravinsky Divertimento, Sinfonia excerpt]
They found the right combination – it is light and witty, but there is still that darkness and weight to it as well. There is a very strong sense of powerful personalities coming through. They play the very witty and sparkly “pas de deux” with aplomb, but there is a real edge to their playing. That edge comes out in the Shostakovich – I really feel that they have these reserves to draw on which you need with Shostakovich. The dark undertones in this piece are not hidden at all. It is brooding, and it has got anguish. It is a great big structure as well. They go down into the depths of this piece and they get that great spiral structure very beautifully worked out in the last movement. We are going to hear from that slow final movement an excerpt where the violin starts with that very veiled vulnerable sound and then moves up a gear into something very intense.
[Shostakovich Sonata, excerpt from the 3rd movement]
This really is a “take no prisoners” approach – the way they build to that climax. They have a very real, dark, Russian feel to this piece and there is a compelling sense of an unfolding narrative. I was very convinced by this – the unity of the structure they really achieved – that, they realized that beautifully. It is incredibly impressive and it is a great combination with the Stravinsky.
[Stravinsky Divertimento, Sinfonia excerpt]
They found the right combination – it is light and witty, but there is still that darkness and weight to it as well. There is a very strong sense of powerful personalities coming through. They play the very witty and sparkly “pas de deux” with aplomb, but there is a real edge to their playing. That edge comes out in the Shostakovich – I really feel that they have these reserves to draw on which you need with Shostakovich. The dark undertones in this piece are not hidden at all. It is brooding, and it has got anguish. It is a great big structure as well. They go down into the depths of this piece and they get that great spiral structure very beautifully worked out in the last movement. We are going to hear from that slow final movement an excerpt where the violin starts with that very veiled vulnerable sound and then moves up a gear into something very intense.
[Shostakovich Sonata, excerpt from the 3rd movement]
This really is a “take no prisoners” approach – the way they build to that climax. They have a very real, dark, Russian feel to this piece and there is a compelling sense of an unfolding narrative. I was very convinced by this – the unity of the structure they really achieved – that, they realized that beautifully. It is incredibly impressive and it is a great combination with the Stravinsky.