Detailinformationen

+Cellokonzert

  • Künstler: Simon Mulligan, Wen-Sinn Yang, Royal Scottish National Orchestra, Jose Serebrier
  • Label: Naxos, DDD, 2006
  • Bestellnummer: 6424681
  • Erscheinungstermin: 29.10.2007
  1. 1 Piano Concerto No. 2: I. Somber and Steady Start
  2. 2 Piano Concerto No. 2: II. Quiet and Sad Start
  3. 3 Piano Concerto No. 2: Iii. Real Fast! Start
  4. 4 Cello Concerto: I. Curtain-rise Start
  5. 5 Cello Concerto: II. There and Back Start
  6. 6 Cello Concerto: Iii. Three Queries, One Response Start
  7. 7 Cello Concerto: IV. Competative Chaos Start
  8. 8 Cello Concerto: V. A Single Tone, A Dozen Implications Start
  9. 9 Cello Concerto: VI. One Coin, Two Sides Start
  10. 10 Cello Concerto: Vii. Valse Rappelee Start
  11. 11 Cello Concerto: Viii. Adrift Start

Produktinfo

Chosen in 1988 as Composer of the Year by Musical America and now recognized as one of the finest song composers in America, Ned Rorem has also written a significant body of music for orchestra, including three Symphonies (Naxos 8.559149), a Violin Concerto and a Flute Concerto (Naxos 8.559278). When Leonard Bernstein gave the première of Rorem's Third Symphony with the New York Philharmonic in 1959, it signaled a significant triumph for his orchestral music, written in a tonal idiom alien to the experimental practices of the day. Composed in Morocco in 1951, the Second Piano Concerto has a distinctly American character. The last movement, 'Real Fast!', is a tour de force for soloist and orchestra, with jazz-like rhythms and an exhilarating conclusion. In his recent concertos such as the Cello Concerto of 2002, Rorem has abandoned the usual three-movement pattern. The composer has written: "Although I don't believe that non-vocal music can be proven to 'mean' anything ... it's still fun to give programmatic subtitles to various sections.""

Pressestimmen

FonoForum 05 / 08: "Das 1951 in Marokko für den Pianisten Julius Katchen komponierte - und von diesem auch uraufgeführte - zweite Klavierkonzert huldigt ganz unverstellt einem von Poulenc und Ravel geprägten Idiom, mit deutlich amerikanischen Untertönen im rasanten Finale. Nichtsdestoweniger besteht kein Grund, das Werk deswegen zu verdammen, denn es ist glänzend gearbeitet, virtuos und im besten Sinne unterhaltend. Nur "moderne Musik" ist es eben nicht."

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