Tracklist
1. Violin Concerto

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D e B T i s S l a V 3 r Y S T u P i D
DuBi0uSlY EnDoWs YoU WiTh
Itzhak_Perlman-Berg_-_Stravinsky_Violin_Concertos-CN_Import-2010-De
ARTiST.... Itzhak Perlman
TiTLE..... Berg / Stravinsky: Violin Concertos
LABEL..... DG
GENRE..... Classical
RiP.DATE.. 2011-07-13
STOREDATE. 2010-00-00
SOURCE.... CD
QUALiTY... 223 kbps / 4410kHz / Joint Stereo
TRACKS.... 7 / 57:17
SIZE...... 96.18 MB
RIPPER.... EAC Secure with LAME 3.98.4
URL.......
NR. TRACKNAME TiME
1 Violin Concerto To the Memory of an 11:00
Angel - 1. Andante - Allegro
2 Violin Concerto To the Memory of an 14:59
Angel - 2. Allegro - Adagio
3 Violin Concerto in D - 1. Toccata 5:46
4 Violin Concerto in D - 2. Aria I 4:18
5 Violin Concerto in D - 3. Aria II 5:40
6 Violin Concerto in D - 4. Capriccio 6:03
7 Tzigane 9:31
---------------------------------------------------------
TOTAL TiME: 57:17 MIN
TOTAL SIZE: 96.18 MB
RELEASE NOTES
In reviewing these two ultra-modern violin
concertos, Ill start with the later.
Stravinskys Violin Concerto comes from his
Neo-Classical phase. I must admit that aside
from The Rite of Spring and Ebony Concerto,
there is not much in Stravinsky that moves me.
Stravinsky, to me, is very difficult and
cerebral. I suppose his Neo-Classicism was an
attempt to get back to the style of Haydn and
Mozart (which involved stripping away all forms
of Romantic and late-Romantic sentiment). To me,
this music (including this Violin Concerto),
sounds somewhat tart and soul-less (albeit Igor
seems to have been a rather tart and snooty
person). Haydn and Mozart were Classical
composers in the true sense, but their music also
had a good dose of inner warmth and humor. I find
much of Stravinsky quite humorless and cold. I
personally think that Prokofiev did a better (or
at least more entertaining) job of reaching a
Neo-Classical spirit in his Classical
symphony. I suppose, however, that the music
(including this Violin Concerto) is well-crafted.
When you hear Stravinsky, you know that you are
in the presence of greatness, but he is more of a
musicians musician. So if you are a musician
and are into deep well-crafted music for the sake
of admiring such craftsmanship, you might
actually enjoy Stravinskys Violin Concerto more
than I do. However, to make another comparison:
Brahms was also a master craftsman who can also
seem quite cold. When ones gets, however, more
aquainted with Brahms, one finds that underneath
the coldness, thickness and gruff exterior, that
Brahms has a heart and a core of warmth. Ive had
a hard time finding much warmth in this Violin
Concerto by Stravinsky.
Now the concerto by Alban Berg is another matter.
Berg comes from the infamous Second School of
Vienna headed by the uncompromising Arnold
Schoenberg. This is ultra-modern music of the
so-called serial or Twelve Tone variety. The
idea is to conquer or liberate music from
melody by using all twelve notes in each measure
so as to eliminate a tonic center. In other
words, Berg doesnt want to create tunes per
se-nothing you can whistle to yourself afterwards
as with Beethovens Fifth Symphony or
Tchaikovskys Nutcracker. You would think that
such a system would inspire music that nobody
would want to hear (and albeit, there are few
people on the street that identify Berg or
Schoenberg as their favorite composers). However,
in the case of this Violin Concerto by Berg,
there is a certain warmth and raw emotion that
comes through the fierce methodology. The
concerto was written as a remembrance for a
departed child, and parts of it are quite lovely,
sad, tense, and full of anguish. Berg even
manages to be sweeping in the Romantic
sense-almost like Wagner; except that Wagner is
melodic and Berg is more-so cloaked in mystery. I
have always liked Bergs Violin Concerto, both as
a Violin Concerto and as a serial or
Twelve-Tone work. Of all twelve-tone works, in
fact, I would say that along with Schoenbergs
chilling Survivor from Warsaw, it the most
accesable and is the one I would recommend to the
casual listener of classical music.
As for the performance, you cant get get much
better than Itzhak Perlman. Now that Isaac Stern
and Yehudi Menuhin are gone, hes probably the
greatest violinist alive today. He presents both
these concertos masterfully with a full, crisp
tone. Maestro Seiji Ozawa and the BSO provide
compoetant but not overbearing support.
QUOTES
It is essential to do everything possible to
attract young people to opera so they can see
that it is not some antiquated art form but a
repository of the most glorious music and drama
that man has created.
-- Bruce Beresford
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