|Alle Preisangaben inkl. USt|
|Neu ab||Gebraucht ab|
AutoRip steht nur bei Musik-CDs und Vinyl-Schallplatten zur Verfügung, die von Amazon EU S.à.r.l. verkauft werden (Geschenkbestellungen sind komplett ausgeschlossen). Lesen Sie die Nutzungsbedingungen für weitere Informationen und Kosten im Hinblick auf den mp3-Download, die im Falle einer Stornierung oder eines Widerrufs anfallen können.
Wird oft zusammen gekauft
Kunden, die diesen Artikel gekauft haben, kauften auch
Möchten Sie die uns über einen günstigeren Preis informieren?
Wenn Sie dieses Produkt verkaufen, möchten Sie über Seller Support Updates vorschlagen?
Digital Booklet: Rachmaninov: Piano Concerto No.3 In D Minor, Op.30 / Prokofiev: Piano Concerto No.2 In G Minor, Op.16
Digital Booklet: Rachmaninov: Piano Concerto No.3 In D Minor, Op.30 / Prokofiev: Piano Concerto No.2 In G Minor, Op.16
Das Simón Bolívar Symphony Orchestra, internationales Aushängeschild des wegweisenden Netzwerks von Musikschulen und Jugendorchestern in Venezuela namens El Sistema, präsentiert zum ersten Mal eine Aufnahme mit einer Solistin. Die junge chinesische Virtuosin Yuja Wang stellt sich hier einer großen pianistischen Herausforderung: In einem Konzert spielt sie zwei der schwierigsten Werke des gesamten Klavierrepertoires, das Zweite Klavierkonzert von Prokofjew sowie Rachmaninows Drittes. Am Pult des Orchesters, das sich hauptsächlich aus Musikern im Alter zwischen 20 und 30 Jahren zusammensetzt, steht Gustavo Dudamel, der dynamische venezolanische Dirigent und Superstar.
Dudamel sagt: »Wir haben auf einen Solisten gewartet, bei dem die Chemie stimmt. Yuja ist sehr jung, sehr talentiert, wir gehören zur gleichen Generation. Wir alle bilden gemeinsam eine neue Generation von Musikern und Zuhörern. Es ist fantastisch, dass wir diese Aufnahme mit ihr in der Simón Bolívar Hall unseres Zentrums hier in Caracas machen konnten.«
Welche anderen Artikel kaufen Kunden, nachdem sie diesen Artikel angesehen haben?
Wangs Qualitäten sind auf der CD tatsächlich hörbar. Das ist die gute Nachricht.
Alles andere enttäuscht: Das Simón Bolívar Symphony Orchestra of Venezuela erklingt mit dem Charme eines Schulorchesters, und Dudamel hat manchen verschleppten Einsatz, sportliches Blech und vieles mehr wohlwollend überhört. Nicht nur in den Tuttis konnte der Tonmeister Stephan Flock diesen Klangsirup wohl nicht weiter ausdifferenzieren, und das hört man leider. Wie das alles hätte erklingen können kann man sich auf YouTube anhören in einem Mitschnitt von Arte (Xian Zhang ist die Dirigentin, Sächsische Staatskapelle Dresden das Orchester).
Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Listening to the fearless way Yuja Wang often tackles Rachmaninoff's nearly constant, busy keyboard writing, I started thinking of a concert hall tale. The story goes, when the composer heard Vladimir Horowitz play his third piano concerto, Rachmaninoff supposedly decided on the spot that he would retire from playing it because nobody could be expected to play the third concerto better than Horowitz was playing it. If you've heard the later stereo “live' recording that Horowitz did in New York with Ormandy conducting, you begin to grasp the plausibility of the tale. Hearing Yuja Wang, one wonders what Rachmaninoff would have felt and said. She simply has an unflagging muscularity that can leave a listener breathless in more than one of the third's famously challenging passages. It's not just that Wang is indeed hitting all the notes, but that she maintains tempo in many passages where even very good virtuosos have tended to slow down a bit, taking occasion to breathe. Also rather scary in the way Wang can shift gears without blinking an eye. She goes from lyrical to acrobatic to muscular to sizzling scherzando …. just letting the third concerto continue to flood out like a force of Nature, loosed. One at first predicts that she will lose her way, musically, and just end up pounding. But no. Again and again, Wang lets the familiar Rachmaninoff kaleidoscopic flow find its rapids, its reflecting pools, its burbling curls. The third concerto for my first time hearing it this way, even gets pretty scary in more than one moment, with Wang bringing off the percussive interlude/improvisation passages of the third movement with such formidable muscle and growling that I'm not sure I've ever, ever heard anybody go all the way in her manner. Then there is the big culminating climax of the last movement where orchestra players and pianist more or less pull out all the stops as the big tune is reprised.
Thanks to Dudamel and his Simon Bolivar players, the whole thing is given, all of a piece. I can hardly recall hearing another conductor and orchestra so deftly inhabit the same tempos, inflections, and shifting musical narratives with the solo pianist ….. as do Dudamel and SBSO. All those passing Rachmaninoff instrumental 'duets' are exquisitely joined by Wang at the keyboard and this or that or the other player in one of the orchestra departments. The places where most performers take leave to go just a tad hinky so that everyone has time to get on board are simply played out, seamlessly here. You'd think everyone had been playing chamber music together, and now decided to pump out a concerto for fun. Scary, fun.
By all rights, it should take listeners a few minutes to recover from hearing the Rach third played like this. But no sooner has the 'live' audience applause died down, than these same musical forces dive into Prokofiev's second piano concerto. It also seems to have been recorded, 'live', in concert.
The one slight reservation about 'hard' piano tone that I held onto concerning Wang and Rachmaninoff turns out to be a boon in her Prokofiev reading of the second piano concerto. The edge her keyboard tone can gather helps this concerto be as much of a modernist musical bulls eye as any Prokofiev reading on disc to date. Again, Dudamel and his SBSO players are utterly at one with Ms. Wang through all four movements. The composer's muscle and percussive handling of the piano, along with the players of SBSO, never over shadows those piquant lyrical touches, nor muddles the clarity of Prokofiev's fondness for his own kind of improvisatory counterpoint. Passages which can sound academic and meandering, all at the same time, even in many welcome readings of the second concerto, here come across with drama. For once the second holds consistent interest, not least via high contrast juxtapositions of musical foreground and background, all within a recognizeable Prokofiev 'sound.'
Bravo, SBSO players! Bravo, Ms. Wang! Bravo, Dudamel! As the second concerto's audience applause comes ashore at the end, one again realizes: These two high wire piano concertos have really been played, 'live' …. and in retrospect, the liveness caught fire in more than a compelling virtuoso technical display.
I listened to Yuja live playing Rach3 with the San Francisco Symphony in June 2012 - absolutely blew me away.
I believe she played the long cadenza then, there are two fragments in my memory I cannot rediscover in this CD recording - or any of the other recordings I listened to for comparison now.
Yuja plays with brilliancy, positively pushed by Dudamel (compare with Wang/Zhang.) And besides her phenomenal speed and precision, she also can weave the pianissimo tones to a soft layer which enwraps me and makes me float away.
Many other pianists play in a style that from time to time puts a spotlight on a special part of the concerto (or on themselves) which often breaks up the piece somewhat. Yuja keeps the focus on the piece, not herself and strives to hold the episodes together - there are still enough surprise turns and twists left!
Yuja brings out all the pain and sorrow of this piano concert - as I hear it, from the viewpoint of high but (yet) unfulfilled expectations of a young adult.
For comparison Horowitz/Reiner '51 intones the despair of a middle-aged person over opportunities missed, and most likely is closest to what Rachmaninoff originally had in mind. Then Horowitz/Mehta Sep'78 is not just sorrow or melancholic, but depressed and crestfallen like an old man who knows he will not get another opportunity on things he missed - amazing how dark he could tune Rach3 but not the one for everyone.
So Yuja has put down *her* interpretation and it is fully valid!
On the CD just like back at the live SF Symphony concert, I got a bit lost in the second movement when listening attentively. But with a little more unfocused listening approach, it now gains on me as the impression of feelings registered through a haze of pain with brief moments of beauty, like a ray of sunlight peeking through a layer of very dark clouds, shape up. And it positively increases the contrast to when the third movement takes off.
I've now come so far as to see other second movement interpretations of a bit too much "in your face" delicate beauty.
Yuja plays fantastic, outstanding.
A very solid Simon Bolivar Orchestra accompanies her well; only the brass section can't always keep up with the quality level.
Regrettably the CD sounds less airy then possible, likely due to a too noisy audience. On very attentive headphone listening one realizes there are short passages when you suddenly perceive the whole concert hall acoustic - but then also two times mumbling in the audience. The sound engineer has no magic wand, and it seems he decided for a mix with less background noise but therefore also much less captured hall acoustic. Maybe that mostly "close micing" also accounts for violins sounding the slightest bit muffled to my ear.
Despite recording/mix acoustic shortfalls, still 5 stars (just so).
Prokofiev No 2
Plan to add this review later.
Starting off with the Rachmaninov 3rd Concerto, long a virtuoso display piece, we hear musicianship that is well-considered and very mature. Rachmaninov readings of late have tended to shy away from gooey sentimentality in favor of more refinement and modernist sensibility. Here the first two movements could almost be seen as dry-eyed, yet they move with flexibility and true involvement. Every phrase sounds natural and there's dramatic undercurrent that lends a feeling of expectation. Wang has an inspiring technique, so she tackles every challenge with no sign of stress. But she doesn't simply run through the music either; she has commanding control and one feels she gives everything she has. She chooses the shorter, easier cadenza in the first movement, something some listeners will bewail, but it's a minor cavil either way. In the finale we get to hear actual fireworks for the first time, with both Wang and Dudamel letting go with frenzied abandon. I can't imagine anyone listening without being captivated by the sheer charisma of these musicians--it's quite an experience.
If anything the Prokofiev 2nd Concerto is better and there's comparatively little competition. With its percussive, modernist idiom, it hardly hurts when interpreters take it with towering precision and unbounded energy. It's a thrilling display of pyrotechnics here. Nothing sounds brusque though, and it's a good thing that Wang can be biting and sarcastic without banging out the notes. There's freedom in the phrasing actually, which makes the piece playful without wearing on the listener's ear. Dudamel is vivacious and makes the most out of the rip-roaring orchestral part--the orchestra plays with surprising accuracy. In all, the force of two fiery young musicians makes this concerto a romp from beginning to end.
There's a chance this recording will be a divider, since there's a unique combination of refinement and dynamic involvement that some will find self-conscious. I can only argue that charisma wins out in the end.
concerto overshadows the rest of the CD Not because the rest is bad, they are perfectly played. They
just don't have the passion and feeling of the first one. Other than that the volume has to be adjusted
midway down because it was way up to catch the almost imperceptible intro which is quite touching.
Don't mind my criticism too much because I have impeccable taste despite a tin ear. By all means
buy the CD. A bonus of course is Yuja is eye candy on the cover. Love her. Envy her talent.