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> Mozart - Grieg / Dena Piano Duo, SACD

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post 26/06/2009, 19:14
Сообщение #1


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Mozart - Grieg / Dena Piano Duo

Mozart - Grieg / Dena Piano Duo , SACD

Genre: Classical – Instrumental

Гибридный SACD 5.1

Klaviersonaten von Wolfgang Amadeus Mozart (1756-1791)
mit frei hinzukomponierter Begleitung eines
zweiten Klaviers von Edvard Grieg (1843-1907)

Mozart (arr. Grieg): Sonata in C major K.545, Sonata in F major K.533/494,
Sonata in G major K.283, Sonata in C minor K.475/457

Dena Piano Duo:
Tina Margareta Nilssen, Klavier 1 (1-3, 10-12), Klavier 2 (4-9)
Heide Görtz, Klavier 1 (4-9), Klavier 2 (1-3, 10-12)

    Sonate in C-Dur, K545, “Sonata facile” (Wien 1788)
  1. Allegro 4:58
  2. Andante 5:14
  3. Rondo. Allegretto 1:46

    Sonate in F-Dur, K533/494 (Wien 1788/1786)
  4. Allegro 8:53
  5. Andante molto 7:23
  6. Rondo. Allegretto 6:38

    Sonate in G-Dur, K283 (Salzburg 1774)
  7. Allegro 5:54
  8. Andante 5:57
  9. Presto 4:53

    Sonate in c-Moll, K475/457 (Wien 1785/1784)
  10. Allegro molto 8:27
  11. Adagio molto 8:08
  12. Allegro assai 4:53

    Total time: 61:06

Recorded at Sofienberg church, Oslo, August 2006 by Lindberg Lyd AS
Recording producer: Wolfgang Plagge
Balance engineer Hans Peter L'Orange
SACD mastering Hans Peter L'Orange
Executive producers Morten Lindberg

Lindberg Lyd AS (2L40SACD, 7 041888 511724), 2007
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post 26/06/2009, 19:46
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Цитата( буклет )
Mozart in Romantic Guise

Mozart was without a doubt one of Edvard Grieg's favourite composers. When his mother gave lessons or entertained family and friends for an evening of music, it was the music of Wolfgang Amadeus Mozart which made the greatest impression on him. As he grew older, Mendelssohn and Schumann became his idols - without usurping Mozart's prominence among his favourite composers. The thirteen-year-old Edvard Grieg, a pupil at the Tanks school in Bergen, was given a Mozart biography by his Czech piano teacher Ferdinand Joseph Schediwy on the occasion of Mozart's hundredth anniversary in 1856. In the course of his four years of studies at the music conservatoire in Leipzig, Grieg was required to write a string quartet. He felt that his tuition so far hart not adequately prepared him for such a task, and approached the assignment by first studying the quartets of Mozart and Beethoven. At a concert he gave on returning to Bergen as a graduate musician he performed piano trios by Mozart together with his cellist brother John, and the famed violinist Ole Bull. As a student Grieg listened to a lot of Mozart, and later programmed many of his works as a performer and in his capacity as orchestra director in Oslo and Bergen. During the winter of 1876/77 he arranged four of Mozart's nineteen piano sonatas for two pianos by adding his own, newly composed part. In a letter of April 23, 1877 to his friend August Winding he wrote about his composing: "My recent spare time I have spent composing a 'Piano Secondo' to Mozart's Piano Sonatas, and `have tried them out with Mrs Lie-Nissen. Much of it sounds excellent; so good, in fact, that I have reason to hope that Mozart will not turn in his grave." Erika Nissen, one of the first to include Grieg's piano concerto in her repertoire, was one of Norway's foremost pianists. The trial run-throughs of the sonatas with her gave Grieg the confidence to believe that he bad succeeded in melding Mozart's musical idiom with his own, although he still maintained a fear of having violated the music of his classical hero. One might be surprised that Grieg chose to give so much time to such a project, but music history shows that he was far from alone in doing so. There are many examples of composers borrowing ideas from colleagues' music, or reworking it into something new. In such instances the idea and intention is almost always to express admiration and respect. In some cases composers used the note-names of the great masters, such as BACH, GADE or SCHumAnn, as musical motifs in their work; in other cases they borrowed musical material which they worked into their own music. In short, we find the whole spectrum of compositional possibilities, from the borrowing of familiar themes to reworkings of entire pieces, such as with Grieg. What is special about Grieg's adaptations of the Mozart sonatas is that he has not reworked them in the traditional - and perhaps derogatory - manner. Grieg's unusual achievement lies in the fact that he has retained Mozart's text unchanged, adding an entirely new part which can be performed together with the original. When both parts are played, they interweave and become something entirely new. To create an amalgamation of the two pianos, they most be placed close to each other so that the performers can see and hear each other and thus achieve the desired compositional unity. What, then, is the artistic motivation behind such a project? Two different musical styles meet in dialogue, ending up in a symbiosis of colour and texture. Mozart's music expands in time and space. Grieg's additional piano part is a romantic's respectful embrace, a romantic commentary; Mozart in romantic guise. When Grieg inserts a pedal-point under the theme of the first movement of the C major sonata he veils the clear Alberti bass accompaniment, giving the music a romantic colour. What was originally a simple, innocent "Sonata facile" is filled out and transported to a new dimension through Grieg's intervention. On May 27, 1877 Grieg wrote to his publisher in Leipzig: ''This winter I have been working on something which has interested me; I have composed a separate second part to several of Mozart's sonatas. This work was first intended for use in teaching, but came to be played in concert where Mrs Lie-Nissen gave a masterful rendition of my part to the first sonata (in F). Mozart's part was played by Miss Rytterager (a student at the conservatoire in Leipzig); the entire "narrative" made such an impression that the ladies had to return twice to receive applause." Grieg hoped in vain that Peters would publish the Mozart adaptations. In the years 1879-1881 he therefore had them published separately by E.W. Fritzsch. Grieg found it hard to accept the puritan attitude expressed by Peters and by a reviewer in a Sweetish music periodical. Grieg received the following reply from Peters: "The world is waiting for original compositions from your hand and not, if you will excuse my mentioning it, second piano parts to Mozart's sonatas! Such work, however diligently executed, I would not, if I were you, publish at all; at least not in the immediate future." It is possible, of course, that Max Abraham of Peters was acting on behalf of the publishing house's policy and that he nonetheless recognized Grieg's achievement. The same cannot be said, however, of the Swedish music critic Adolf Lindgren. In 1886 he made the following comment on Grieg's adaptation of the C minor fantasia: "Grieg's setting for two pianos of Mozart's fantasia is a complete blunder, a part-Norwegian version of Mozart, for which a genuine musician ought to have more respect.' One can say what one will of Grieg's intentions; the Mozart adaptations were certainly not written out of any lack of respect for Mozart. In January 1906 he was asked by the "Neue freie Presse" in Vienna to write an article in conjunction with a series of commemorative concerts marking the 150th anniversary of Mozart's birth. Grieg considered this request a great honour, writing in his diary: "What a joy, to be able to honour my immortal master, my childhood love!" In 1896 Grieg had written a long Mozart article which was published on several occasions. In the article he mentions his Mozart adaptations several times: ''The author of this article has himself attempted, with the use of a second piano to introduce to Mozart's piano sonatas a sound and colour which directs itself to our modern ear; in his self-defence he would also like to add that he did not change a single one of Mozart's notes, thus showing the master the piety that he is due." Grieg wrote elsewhere that he had attempted "a modernization to show my admiration for an old master." At the end of the article Grieg counters the vain criticism of his puritan contemporaries by referring to Mozart himself: "Mozart, to us, is the very incarnation of childlike joy, amiable goodwill and unpretentiousness. He was capable of putting on his Magic Flute in Schikaneder's shed of a theatre without compromising his artistic dignity. If he were able to look down on us now, he would be bound to say, "You modern masters, why all this fuss? Why do you dress yourselves with all this exterior dignity? It has no bearing on your art; it simply destroys the original human sensitivity, the true salt of art."

Prof. Dr. Patrick Dinstage

Четыре соната (здесь представлены три из них, четвертая вышла на следующем диске дуэта, но тот диск особая история) демонстрируют уникальный подход автора (Грига) к обработке предшествующего классика. Наверно такое возможно только в джазе. Не трогать ни ноты, а просто наложить свое на другом инструменте подчеркивая современные (Григу) моменту. Получается венская классика звучащая в стиле романтизма. Отношении издателей (из буклета) к автору отвратительно: не то изволите творить, и не важно, что популярны, народу эта нэ трэба. Два рояля поставили валетом, крыльями вплотную друг к другу и боком к нам. Их положение хорошо различимо выше первой октавы. Нас не помещают внутрь этого двуликого инструмента как на "Where is Pannonica?", жанр совсем другой. Справа Моцарт (инструмент 1), слева соответственно Григ (инструмент 2). Кто, кого играет – исполнительны меняются. Линдберг любит делать в объемных помещениях. Здесь достаточно большая церковь, звонкая, но рояли не захлебываются звуком. Вы как бы оказались случайным единственным свидетелем: наставница – метр, Хайде Гёртц и ее бывшая студентка, Тина Маргарета Нильсен, чудесно исполняют это произведение.

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