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Die drei Konzerte

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5.0 von 5 Sternen Beautiful Music 21. September 2014
Von Gary W. Melhart - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
I greatly enjoyed the contemporary sound of these pieces. Both concerti were well done.
0 von 4 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Variable 28. Mai 2014
Von Ivar Norway - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
Both recordings and musical voice is very variable.
Interesting for lovers of Denmark most celebrated composer, and this wonderful country itself.
Simple, and direct foreward positive post romantic music.
1 von 1 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen tthen we recognize the Great Dane for who he is 2. Juli 2014
Von NUC MED TECH - Veröffentlicht auf Amazon.com
Format: Audio CD
A very Likable Trio of Concerti, these works for orchestra and violin, clainet and flute. The soloists are Jonathan Carney, violin, Kevin Banks, Clarinet and Gareth Davies, Flute. Kees Bakels is the young conductor of the Bournemouth Symphony Orchestra on this budget priced Naxos recording, taped in 1997. The timings for these three concerti are 35;46 9violin0, 24;31 9cLARINET) AND 18;19 (Flute). For the most part, the composer's distinctive style, as heard in his magnificent 6 Symphonies, and right from the get-go in Number 1, isn't very apparent in the soloist work, but whwen the orchestra steps forward, ahh, tthen we recognize the Great Dane for who he is. These are jaunty and interesting pieces of unbridled energy, non-stop acrion and so many twists and turns that they never fail to interest the average concert goer. I liked them from the first moment I heard them on this disk and will now consider collecting some better known soloist's renditions of them.
The violin concerto was written during repeated visits to Nina Grieg, the widow of her composer husband, Edvard Grieg. The bold forte unison opening, for soloist and orchestra, is not unlike Nielsen's 2nd or 4th Symphony's very first moments nor is it essentially different from the instant purge of energy of the Grieg g minor Piano Concerto. Obviously written with these three works in mind, this virtuoso piece is a tough nut to crack and requires a violinist of special skills, which is what we have in Jonathan Carney. The first movement is a two part construct with an "on-the'fly" transition from a largo tempo to a n allegro cavalleresco pacing, collectively running out to 18:48 ion the clock and containing the most significant material of the entire concerto's score. Next is a simple poco Adagio and a concluding Rondo;Allegretto scherzando.
The next offering on this triple concerti collection is the Concerto for Clarinet and Orchestra, written after all six of the composer's Symphonies had been written and in the year 1928, he created this unusual nd interesting work for one of the "forgotten" instruments of the orchestra, pwerhaps more neglected than even the Bassoon. Mozart's great Clarinet Concerto, in A, and even more beautiful Quintet for this reeded instrument and string quartet are probably the only two really well known pice that include this wind as a soloist. there are also the clarinet concerto of Benny Goodmn and works by Carl Maria von Weber to go along with the sparce listings in the record catalogs of the world, but this is still a beautiful instrument, with it's soulful and almost human voice of expression and lamentation, and azs a n orchestral soloist it is often the purveyer of intense human feeling and expressions. Examples are a plenty, but I always think of the gorgeous and lush Adagio from the Rachmaninoff Symphony #2. It is in one continuous movement but has a general fast-slow-fast pattern to it's flow. Again, an interesting piece of music, and one not to be ignored.
The final concerto is the one for Flute and orchestra, penned in 1925, and begun just as Nielsen was putting the finishing touchs on his 6th Symphony, the "Sinfonie Semplice. Running for only 18:19, this concerto is composed in two parts, n Allegro moderato and a closing Allegretto.
My only mudic teacher was my Uncle Tom, the Catholic priest in our family and a retired Notre Dame U S History professor, who had a small record collection, a huge and diverse stereo system and the habit of just listening to the greatest Classical station in the world, then as now-----WFMT-FM in Chicago, however he did have two different recordings of this work and yet, I failed to ask him why. Alas, he went to Heaven without ever telling me, but I must only conclude that there was a very good reason for his goinfg to the trouble to collect two of them. And, since WFMT has alwys been such a sparklingly comprehensive station, he probably felt what's the need in a massive physical collection, such as I have? Working in various factories and offices in the Chicago area, I would spend my once a month 4 day weekends with him at his convent assignment, from the very early 70's to about 1990, when he passed away. He taught and I listened and he generally used the Radio and his sparce supply of LPs in his instructions to his student, me. hw was a wonderful teacher, and, without, THE most brilliant man I have ever personally known in my life. With the 6 years he spent studying Theology in the seminary as a young priest to be, he had an uncanny unsderstanding of human nature and therefore the arts as well, and I could never stump him with a trick question-----NEVER. he was just too smart for that.
So, these concerti are interesting, fun and very well written and composed. the recorded sound is fine and of solid quality from the folks at Naxos, so get a copy today, nd enjoy. Happy listenoing to you all and God bless as well, Tony. AMDG!
13 von 13 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Nielsen's three concertos 20. August 2006
Von Russ - Veröffentlicht auf Amazon.com
Format: Audio CD
Here we have the complete concertos of the Danish composer Carl Nielsen (1865-1931). Nielsen originally planned to compose a concerto for each member of the Copenhagen Wind Quintet; however Nielsen only got around to the Flute Concerto (1926) and the Clarinet Concerto (1928).

The Violin Concerto (1912) is an earlier work. If you enjoy the ultra Romantic third and fourth symphonies, you will definitely enjoy the Violin Concerto. Nielsen remarked that he wanted to concerto to be "popular and showy without being superficial." And indeed, this is a very "showy" concerto. The concerto is divided into two sections, each beginning slowly, but concluding briskly. The fast section of the first movement contains a great theme and a lot of fiery violin playing, with an exhilarating coda to boot. The final movement takes the form of a delightful rondo. Those familiar with the symphonies will note all of Nielsen's melodic and harmonic trademarks in this concerto. Listen to the aggressive lower strings battle against the soaring French horn clarion calls at the 3:40-mark on the third track and you'll know what I'm talking about. This is a fantastic piece, and I am a little baffled why it is not better known.

The Flute Concerto and Clarinet Concerto belong to Nielsen's later period, with the spiky and sparse sixth symphony coming to mind. The soloist has an antagonist in each of these concertos. In the Clarinet Concerto, it is the snare drum, while in the Flute Concerto, it is the trombone. The snare part heard in the Clarinet Concerto is reminiscent of the conclusion of the sixth symphony. The solo part in the Clarinet Concerto is extremely difficult, and Nielsen makes dual use of the instrument, sometimes exploring the warm and lyrical aspects of the clarinet's timbre, while in others the piercing and menacing quality of the clarinet's upper register is used. The Clarinet Concerto is a bit bizarre, sometimes frightening (11-minute-mark), but is generally interesting. The Flute Concerto is a bit more "traditional" in comparison to the Clarinet Concerto, and contains some of the lyricism found in Nielsen's earlier symphonies. But, this lyricism is often offset by more modern ideas. Nielsen's intent is to contrast the graceful flute part against the rude interjections of the trombone player. I especially enjoy the conclusions to each of the concerto's two movements, with the exotic and beautiful ending of the first movement contrasted against the frolicking finish to the second movement where the flute and the "glissando-ing" trombone seem to reach a truce.

Wind concertos are a bit of an oddity in twentieth century music, but perhaps these two concertos were an influence on Nielsen's fellow Dane, Vagn Holmboe (1909-1996), as he was composing his fantastic wind concertos and concertinos. If you like these works by Nielsen, the concertos of Holmboe are well-worth exploring.

Nielsen's concertos are far less known in comparison to his symphonies. This is a shame, as these pieces deserve to be better known, especially the dramatic violin concerto. The playing by the soloists and orchestra is very good and is matched by the excellent engineering by Naxos.

Recommended.

78:59
28 von 29 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen One of the 20th-C's Major Contributors to the Concerto Genre 13. August 2001
Von Karl Henning - Veröffentlicht auf Amazon.com
Format: Audio CD
Nielsen composed a woodwind quintet, and then planned to write a set of five concertos, one for each member of the woodwind quintet. In the event, he completed concertos only for the flute and clarinet (in addition to the earlier violin concerto). This is devastating news for the hornists in the world, particularly ... for a Nielsen horn concerto would be a gold nugget in the solo horn rep. No question.
Nielsen's contribution to the concerto genre is at the head of an oddly small collection of 20th composers, a small minority who composed concerti for more than one single-line instrument. The great Russians, Stravinsky, Prokofiev and Shostakovich, all wrote concerti both for violin and for piano; but none for solo wind instrument. What I know of the concertos of the only other 20th-century composer to write for more than one wind -- Hindemith -- does not seem to me to match the quality of Nielsen's work in the genre.
Nielsen ought to write a violin concerto well -- the instrument was his principal study for three years at the Copenhagen Conservatory, and he played at a second desk in the Royal Danish Orchestra for the premiere of his own first symphony, in March of 1894. The violin concerto is a moving, and absorbing work; in many respects solidly rooted in the rich tradition of the violin concerto repertory, but it benefits from that tradition rather than bogging down in it. There is even the occasional foreshadowing of the humor Nielsen shows in the later wind concerti, such as the end of the first movement where the horns "wobble" in imitation of the solo violin.
The clarinet concerto is dynamite; a great piece for the soloist to play, and the finest clarinet concerto since Mozart's. Nielsen takes the inherent soloist-vs.-orchestra "contest" which is at the heart of the concerto, and expands the contest. In the case of the clarinet concerto, the snare drum sometimes comes to the fore to serve as a chief "antagonist" of the solo part. For the flute concerto, it is the boorish trombone which antagonizes the super-elegant flute solo.
The performances on this disc, both orchestra and soloists, are solid, musical, polished.
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