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> Magdalena Kaltcheva "Sonatas", SACD

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post 28/06/2009, 22:30
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Magdalena Kaltcheva "Sonatas" SACD

Magdalena Kaltcheva "Sonatas" , SACD

Гибридный SACD 5.0

Genre: Classical – Instrumental

Magdalena Kaltcheva, Gitarre/Guitar

Total Time: 72:31
  1. Fandangos y Boleros 6:41
  2. Sarabanda de Scriabin 3:46
  3. La Toccata de Pasquini 4:52

  4. Sonate in G-Dur L 387 / K. 14 4:38
  5. Sonate in A-Dur L 238 / K. 208 4:58
  6. Sonate in G-Dur L. 349 / K. 149 3:48

  7. FANTASIE 11:17

  8. Allegro risoluto 6:31
  9. Romanze 4:24
  10. Andantino variato 5:55

  11. India 6:06
  12. Largo 5:18
  13. Fuoco 3:39

Aufgenommen / Recorded: 12.-14. März 2006 Verein für Berliner Stadtmission, Gemeinde Frankfurter Allee, Berlin
Produzent/Producer: Klaus Feldmann
Aufnahme/Recordinq: according Company Döhlscheiben

Membran (60164-207, 4 019272 601644), 2006
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post 28/06/2009, 22:42
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Цитата( буклет )
At the tender age of 19, Magdalena Kaltcheva, a guitarist from Bulgaria, presents her first CD. The programme presented on this CD contains a great variety of extreme challenges from an instrument technical standpoint while demanding a sensitive feel for sound and musical sensitivity. If is remarkable to note that, with the except ion of the interpretation of the Scarlatti sonata, all these pieces were written by composers who were or still are excellent guitarists. "One writes differently if one has virtuoso command of an instrument." This sentence from the cello virtuoso, conductor and composer Rudolf Hindemith is a clear and poignant illustration of the high instru-ment-technical demands of the programme chosen by Magdalena Kaltcheva. Without a doubt, with consistent and intelligent support, she will be likely to number among the great names of the young generation of the guitar world.

The interpretation of Leo Brouwer's (*1939) Sonata alone requires the mastery of technical skills. The Cuban guitarist and composer, who also often worked as a conductor, has enriched the repertoire for the guitar with numerous interesting works. While earlier pieces often reflect the contemporary zeitgeist of the composers, the tonal language of the Sonata, composed in 1990, is more or less modern, not at all experimental, but very demanding from a tech-nical point of view and its structure requires virtuosity. The first movement Fandangos y Boleros almost completely does without the strict rhythmicity of the genre mentioned in the title. The composer has created a more rhapsodic piece: sound sensitive passages are followed by powerful, eruptive outbreaks that again lose their intensity in the intertwining of increasingly slow tones. Why the composer chose to integrate the main theme from Beethoven's Pastorale in the closing measures of the first movement remains a mystery. The second movement, Sarabanda de Scriabin, provides the impression of a light, transparent structure. Probing dreamily, the series of sounds follows almost as if it were seeking orientation that has been lost through the strict rhythmicity of the step  dance.   In  contrast,   the final Toccata  de Pasquini with its cascades of notes and virtuoso structure completely fulfils the expectations awakened by its title.

One reason guitarists interpret harpsichord sonatas from the rich creative works of Domenico Scarlatti (1685-1757) can in large part be attributed to the fact that the composer spent the last 28 years of his life in Spain where he composed mostly sonatas for the harpsichord as the music teacher for the Spanish royal house. 555 sonatas have survived. With the composition of these works, Scarlatti expressed a personal style that reveals the clear sounds of Spanish folklore. Many of his harpsichord sonatas contain characteristic turnarounds which originated in Spanish folkloristic guitar music, his apparent inspiration. By deciding to play the Scarlatti sonatas, the interpreter sets a gallantly playful accent emphasised by the introductory G major sonata. Sighing tunefulness and an extremely elegiac tone colour the second sonata. The third, in addition to rhythmically strictly accentuated sections, runs riot in free figurative movements which ideally suit the facility of the guitar. The order of placement of the sonatas in fast-slow fast also allows the three pieces to appear like the sequence of movements of a single extensive sonata.

The spirit of the Romantic era is reflected in the expansively composed Fantasie (A major) by Johann Kaspar Mertz (1806-1856). Mertz, who celebrated his greatest successes in Vienna around the middle of the 19th century, composed a series of such works for the guitar and also emerged as an arranger of opera potpourris for the guitar. In the voluminous composition of his Fantasie, and in the copious introduction in particular, Mertz seems to want to communicate an orchestral grandiose impression from an instrument-technical standpoint. The filigree, sensitive parts of the work underline the varied embodiments of the theme as a marked contrast.

Still a pièce de résistance for guitarists: the Große Sonate für Gitarre allein by Niccolò Paganini (1782-1840). Paganini, who was also apparently an excellent guitar player, though he never performed in public on the instrument, composed a number of pieces for solo guitar and chambre ensemble. Meeting the challenges of his Große Sonate für Gitarre allein from a technical standpoint is a great challenge for an interpreter. Alone the presentation of the complex scale movement and the octave passages of the introductory Allegro risoluto demand an almost nonchalant mastery of the technical means. The second movement, the well-known Romanze, demands to be played in an unpretentious manner, yet lyrically and with distinctive individual line structure. The exhilarating theme of the concluding Andantino variato resounds in the following highly virtuoso variations in a multiplicity of shadings: racing courses, intricate frets, riotous octave runs, tremolo passages: Paganini was familiar with all the possible variable shapes of a theme and applied them effectively in his Große Sonate fiir Gitarre allein.

"Music must change; it is never finished and complete." The works of Roland Dyens (*1955), currently living in France, prove that he is not only a guitarist and composer, but also a great improviser. In his Libra Sonatine, with which Magdalena Kaltcheva closes her recording, one can clearly discern this characteristic element of his music. The first movement India reveals a multiplicity of musical influences. Expressive in its characteristic style, ever new melodic-harmonic sound fields develop that shape the musical occurrences in the movement with their successive progression. The dreamy Largo that follows lives from the tension between short arches of melody and harmonic progressions,   at times  containing jazzy implications. At the same time the strict motor function of the closing Fuoco is repeatedly revitalized with melodic-rhythmic motif scraps that develop into the starting point for new musical developments: A stormy conclusion in which the great playful potential of Magdalena Kaltcheva is revealed yet again.

Hans Gerd Brill

Только одна гитара. Молодая болгарская гитаристка Магдалена Калтчева. Репертуар вроде очень разнообразный: Доминико Скарлатти, Николо Поганини, Иоган Каспар Мертц, а рядом наши современники кубинец Лео Брауэр, француз Роланд Дьенс (возможно ошибаюсь в транскрипции). Все кроме кроме Скарлатти на гитаре играли. Исполнительницу прельщают технически сложные произведения, но и лирика, как в Фантазии Мертца, или Романс Паганини, ей не претит, да и экспрессии как в Фуко Дьенса ей не занимать. Молодость и чувственность просматриваются во всем, курсив в буклете явно от нее, да и фото там, ну ребенок еще. Хотя играет хорошо. Она впереди, рядом с вами, комната небольшая, почти глухая, а с учетом репертуара получается такое доверительное исполнение лично для вас. Слушать можно и в фоне, не в болтовне с кем то. Неудобно, девушка вроде для вас играет. Посидите поразмышляйте в полутьме. Любителям акустической гитары – рекомендую.

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