Rodion Shchedrin: Piano Concertos Nos.1 - 3 (Shchedrin, Svetlanov)_音乐专辑
Rodion Shchedrin: Piano Concertos Nos.1 - 3 (Shchedrin, Svetlanov)
又名: 谢德林：第1—3钢琴协奏曲
表演者: Rodion Shchedrin/Evgeny Svetlanov/USSR Symphony Orchestra
专辑类型: Live Recording
介质: Audio CD
发行时间: 1997-03-11
唱片数: 1
出版者: BMG/Melodiya
条形码: 0743213690728
专辑简介
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The present disc is taken from a landmark concert in Shchedrin's career. At this concert, later repeated in Leningrad and Kiev, he played all three concertos in sequence with brief interval between each. Three concertos ,of which the first is very accessible in a fresh-minted 'Rachmaninov-meets-Shostakovich' way. The other two are tougher meat and though alive with vitality and experiment are difficult nuts to crack. The first movement of No. 1 is wave-crashingly romantic, the second playful, the third moody like one of Bax's or Medtner's dark works for solo piano. The last movement is playful, a Gershwin-Rumba cocktail.
It is interesting that the composer seems almost apologetic about the first concerto the orchestral part of which he revised for this 1970s concert. The other two are as written in 1966 and 1971. They are atonal and, in the case of the third concerto, apparently use aleatory technique. The second and third were written against the tide of the times. That tide was not just a matter of fashion but one of dogma and political threat. The second emerged in the years when the Union of Soviet Composers condemned 12-tone music as an ideological problem rather than a legitimate choice available to composers. Shchedrin spoke out openly against the majority view at some risk to himself. Despite this the concerto was premiered by the composer with the Moscow RSO, Gennadi Rozhdestvensky conducting. Onik Sarkisov of Mravinsky's Leningrad PO was in the audience and, smitten with the work, it went with its composer as soloist on a world tour which took in Paris, Lyons, Geneva, Berne and Milan.
This international element has remained important. Shchedrin now divides his time between Moscow and Munich. In 1976 he became a corresponding member of the Bavarian Academy of Fine Arts. The second concerto is densely atonal but interest is kept alive by some explosive and seethingly active textures. There is a splash of jazz in the last movement over which Shostakovich-like elements roll like a tank. The jazz re-emerges with moments of Lionel Hampton sophistication. The ticking of the celestial clockwork clicks away. The three movements of the concerto are Dialogues, Improvisations and Contrasts. The work should not be forgotten by anyone compiling a programme celebrating 'jazz-meets classical'.
The Third concerto, which opens with bird shrieks, is an eighteen-minute set of variations with the theme announced after the variations in a three-minute sequence. The theme is a reference to the Diabelli Variations. After the cataclysmic howls, shrieks, mutterings and hammerings of the variations the theme emerges as the composer says 'like a broken vase' to form a unified whole from the whirling fragments of the preceding 18 minutes. Metallic 'whiplashes' close the work.
Applause is included after each of the three concertos. Otherwise the audience are, surprisingly, very quiet indeed.
Sound quality excellent. Notes by the composer are full and authoritative. They do not suffer from the usual problems of composer notes of being either too technical or taciturn. Sigrid Neef's additional background notes are excellent.
With the exception of the first concerto which is a pleasing and fresh work well worth hearing and bidding fair to partner Shostakovich's second piano concerto this disc did not tempt me to return.
曲目
Pno Con No. 3: Tema
