Jorge Bolet Grieg Piano Concerto NYPO Erich Leinsdorf Avery Fisher Hall 1987 скачать в хорошем качестве

Jorge Bolet Grieg Piano Concerto NYPO Erich Leinsdorf Avery Fisher Hall 1987

Jorge Bolet (1914-1990) - piano New York Philharmonic Orchestra cond. Erich Leinsdorf Avery Fisher Hall October 27 1987 radio announcement (begins abruptly) [0:01] EDVARD GRIEG (1843-1907) Piano Concerto in A minor Op.16: 1. Allegro molto moderato [1:15] 2. Adagio [14:43] 3. Allegro moderato molto e marcato [21:05] piano: Baldwin SD-10 Jorge Bolet's performance of the Grieg Concerto in this NYPO subscription series was written up twice by the New York Times: in a review of the afternoon concert in the series and later in a round-up of the Fall season's highlights in which critic John Rockwell pondered the qualities needed by a concerto accompanist: New York Times October 25 1987 by John Rockwell For the first three of his New York Philharmonic subscription programs this season – the final repeat is scheduled for Tuesday evening at Avery Fisher Hall – Erich Leinsdorf has surrounded the Grieg Piano Concerto with two symphonies that, while not unknown, still count as slightly off the beaten track. But it was the Grieg that was the highlight of the Friday afternoon performance. The reasons, apart from the hoary but inherent quality of the piece, had to do with the skills of Jorge Bolet as the soloist and Mr. Leinsdorf as a concerto accompanist. Mr. Bolet is the sort of virtuoso who holds his technique at the ready but doesn’t trumpet it out at the expense of the music. If anything, he makes his playing sound too effortless, gliding smoothly through music that might profit from more evident muscle and definition. Still, his view of the Grief was altogether elegant, balancing display and poetry in delicate equilibrium. Mr. Leinsdorf seems to have the gift of maintaining a strong podium personality yet accommodating the wishes of a soloist. His accompaniment was really that – a helpful sustaining of Mr. Bolet’s ideas. Yet it never lapsed into servility; Mr. Leinsdorf has strong, vigorous ideas of his own about this concerto, and they meshed helpfully with Mr. Bolet’s. The concert began with Sibelius’s Symphony No.4….. New York Times January 10 1988 by John Rockwell Last Fall, Jorge Bolet played a lovely run of performances of the Grieg Piano Concerto with the New York Philharmonic. But what made them lovely was not just the pianist's own brand of commanding, diffident elegance. It was also the orchestra accompaniment - forthright on its own; properly subservient yet never self-effacing in partnership with the pianist. The success of the performance set me to brooding about the special gifts of a concerto conductor. Yes, it's the players who play. But in the relationship of conductor to orchestra, it's still - even in our era of a greater democratization in these matters - the conductor who sets the tone, who encourages the musicians to work in sensitive cooperation with the soloist, or in blunt, unfeeling opposition. The conductor for the Bolet-Philharmonic Grieg was Erich Leinsdorf. Mr. Leinsdorf is much respected among orchestra musicians, who often speak derisively of flashier, better-loved maestros. But Mr Leinsdorf has never quite managed to impress connoisseurs that he is a great interpreter in the same league as the legendary conductors of the past or even the present. He is seen as a cool, efficient baton technician, crisp but often rigid and pedantic. Yet, on the basis of the Grieg performance and others like it, Mr. Leinsdorf has seemingly caught the secret of concerto accompaniment.....