Elliott Carter - Piano Concerto (1964-65) [2 interpretations] скачать в хорошем качестве

Elliott Carter - Piano Concerto (1964-65) [2 interpretations]

Elliott Carter - Piano Concerto (1964-65) Composer: Elliott Carter (1908-2012) Performers [first interpretation]: Boston Symphony Orchestra, dir. Erich Leinsdorf; Jacob Lateiner, piano Performers [second interpretation]: SWR Sinfonieorchester, dir. Michael Gielen; Ursula Oppens, piano 0:00 Notes 0:07 I. (Leinsdorf; Lateiner) 11:40 II. (Leinsdorf; Lateiner) 26:30 I. (Gielen; Oppens) 36:32 II. (Gielen; Oppens) _________________________________________________________ "Elliott Carter's Piano Concerto, dedicated to Stravinsky as an eighty-fifth birthday offering, was written in 1964-65 for Jacob Lateiner, who had been chosen in a plan in which the Ford Foundation provided funds for some of the younger American musicians each to commission a work from a composer of his or her choice. This recording was made at its first performances, January 6-7, 1967, in Symphony Hall, Boston. [...] The first suggestion to make to someone asking guidance to the Piano Concerto is that he retrace the composer's own route to it, beginning as far back as the Cello Sonata (1948) and the Eight Etudes and a Fantasy for woodwind quartet (1950). Carter has described his Piano Concerto as adapting 'to another musical situation the same preoccupation with expression, physical performance methods and formal processes found' in various of his earlier works. You find, for example, the contraposition of opposed and sharply characterized personae. It is as though the Andante of Beethoven's G Major Piano Concerto, the movement that Liszt heard as the confrontation of Orpheus and the Furies, stood behind Carter's music. When he was finishing his Second Quartet, a particularly vivid embodiment of his virtually anthropomorphic treatment of instruments, Carter said: 'I regard my scores as scenarios, auditory scenarios, for performers to act out with their instruments, dramatizing the players as individuals and as participants in the ensemble.' It is the drama in Carter's music, one's awareness of its powerfully expressed, metaphoric human content, that has made it an uncommonly gripping experience even to listeners who have found the details of his musical language hard to follow. It is the music of a man who enjoys the physical realities of playing — to the point even of sometimes liking to plot the seating — who makes an appeal to the pleasure an intelligent performer takes in the use of his mind, ear and hand. It is virtuoso music, difficult not the least because it is so original and because a routine craft in solving standard problems is as irrelevant and inapplicable to the player's task as it is to Carter's as composer. The formal processes are large, and the sequence of events set in motion by the first sound is completed only with the last. Carter eschews not only standard formal schemata but also the classical habit of movements or whole works returning to something like their beginnings. A work of Carter's will characteristically develop away from its beginning and, during its course, make its material undergo total metamorphosis. The discourse is dynamic, always on the way somewhere, and its condition of flux is embodied especially in the rhythm, which is fluid, involved, with events more often around the beats than on them and with broadly mapped out areas of changing speeds — sometimes with two simultaneous and opposed progressions — used as an important expressive and structural element. This work is not an example of the familiar romantic concerto idea with the soloist/hero supported and cheered on by the crowd. The opposition here between 'an individual of many changing moods and thoughts and an orchestra treated more or less monolithically' involves the soloist in a grim fight for his identity. Carter has described the orchestra as 'teaching the piano how to be, until it goes its own way.' In this process a solo concertino of flute, English horn, bass clarinet, violin, viola, cello and bass mediates between orchestra and soloist, carrying the news from one to the other. There are two movements, the second beginning by picking up the chord on which the first ended, with the orchestra and piano becoming increasingly dissociated and opposed. Three times the second movement is interrupted by cadenzas of the wind players in the concertino, who, like Job's friends, as Carter has put it, sympathize, comment and offer irrelevant suggestions as to how the music ought to go on. The most dramatic feature is the series of increasingly dense blankets of quiet string chords with which the orchestra darkens the impassioned piano declamation. The Concerto ends with soft measures for piano alone: 'In my music it is always the still small voice that wins out.'" ~Michael Steinberg Source: LP / CD liner notes [first interpretation] __________________________________________ For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.