Mon, Fri 星期一、五 5:30pm
Monday and Friday: 5:30pm-6pm
A group of music critics guide you through some of the the most interesting new releases to keep you in touch with the latest fine music recordings.
Critic: Jerome Hoberman
This recording of works for violin and piano/orchestra by Krzysztof Penderecki marks and celebrates the long and fruitful cooperation and friendship between Anne-Sophie Mutter and Krzysztof Penderecki on the occasion of his 85th birthday on 23 November 2018.
Deutsche Grammophon is releasing a double album showcasing a number of the composer’s works for violin and piano or violin and orchestra, including La Follia, Duo concertante, Sonata No.2 and Metamorphosen. All of them feature the violinist Anne-Sophie Mutter, whose name is closely associated with that of Penderecki. Penderecki dedicated his Violin Sonata No.2 for Anne-Sophie Mutter, out of admiration for her interpretative skills, as have many other contemporary composers. The piece consists of five parts and is almost as long as the composer’s concertos for violin. Anne-Sophie premiered the work together with Lambert Orkis, her longtime musician partner, at the Barbican in London on 29 April 2000 and has recorded it now for the first time. The recording of Duo concertante includes the young bass player Roman Patkoló as Anne-Sophie Mutter’s partner. Patkoló was a student of the Anne-Sophie Mutter foundation.
Critic: Dennis Wu
This album features cello concertos by Witold Lutosławski and Henri Dutilleux performed by the multiple prize-winning German-Canadian cellist Johannes Moser and the Rundfunk-Sinfonieorchester Berlin, conducted by Thomas Søndergård. These works, premiered in 1970, are two of the biggest gems of the twentieth century, the golden age of the cello. While equally virtuosic and engaging, both pieces showcase different aspects of the musical landscape of the late twentieth century. Lutosławski’s concerto explores the possibilities of chance composition in the form of a duel between the solo cello and a ferocious orchestral accompaniment, in which the individual ultimately prevails. In comparison, soloist and ensemble work together more smoothly in Henri Dutilleux’ “Tout un monde lontain”. In this “cello concerto”, the composer invokes a mystical “world from afar”, inspired by Baudelaire quotes and full of allusions to French musical greats such as Debussy and Messiaen, while simultaneously sounding unmistakably Dutilleuxian.
This is Moser’s fourth album as an exclusive PENTATONE artist, after releases with the cello concertos of Dvořak and Lalo (2015), Elgar and Tchaikovsky (2017) and works for cello and piano by Rachmaninov and Prokofiev (2016, awarded with a diapason d’or and ECHO Klassik 2017). The Rundfunk-Sinfonieorchester Berlin has an even longer track record with PENTATONE, including albums with Vladimir Jurowski (Mahler/Strauss 2017, Schnittke 2015) Jakub Hrůša (Bartók/Kodály 2018) and Marek Janowski (complete Wagner operas, 2011-2013).
Critic: Dennis Wu
Bela Bartok and George Enescu were born in same Year - 1881, Bartok in the Austrian-Hungarian city of Nagyszentmiklos (today Romania), Enescu in the Moldovian town of Liveni-Botosani (today Romania). Both pieces on this recording are youth works of theirs - 1900 (Enescu Octet) and 1907 (Bartoks 1st violin concerto). Both works were neglected - Enescus Octet for nearly a decade due to the challenges of the piece (being premiered in 1909) , and Bartoks concerto was neglected by its dedicatee, the violinist Stefi Geyer (who was also his young love), and was published only after her death, in 1956 (being premiered in 1958). Bartok and Enescu both died in self-chosen exile - Bartok 1945 in New York, Enescu 1955 in Paris - yet both were respected and admired for being contributers to the development of their countries’ culture and art, particularly as great «ambassadors» for the folk music.