J.S. Bach

[SES.]

Uundværlige Starker der sammen med Pierre Fournier er mestrene på vinyl. Her er er prisbilligt CD alternativ som er undgået min opmærksomhed, det bliver der dog rettet op på..



http://www.classicstoday.com/review.asp?ReviewNum=2954

[gurdet]

Uundværlige Starker der sammen med Pierre Fournier er mestrene på vinyl. Her er er prisbilligt CD alternativ som er undgået min opmærksomhed, det bliver der dog rettet op på..



http://www.classicstoday.com/review.asp?ReviewNum=2954

_________________
mvh. SES.

Jeg kender kun Morten Zeuthens indspilning af cello suiterne. Jeg er ganske glad for den, men bemærker, at den ikke topper nogens lister over uundværlighed...? Kan det have sin rigtighed?

Mvh

[SES.]

quote="gurdet"]Jeg kender kun Morten Zeuthens indspilning af cello suiterne. Jeg er ganske glad for den, men bemærker, at den ikke topper nogens lister over uundværlighed...? Kan det have sin rigtighed?

Mvh[/quote]

Du har helt ret, og Bløndahl-Bengtsson's meget fine skal også med på listen. De fleste indspilninger - og der er rigtig mange - har alle meget at byde på, man er ikke snydt fordi ens plade ikke er med de mest berømte. 

Vi er tæt på et af de største problemer for klassiske indspilninger. De samme værker indspilles forhåbentlig nu med vore dages talenter, de skal blot konkurrere mod de mange fra de sidste 80-100år, og så skal de konkurrere om reolplads hos musikkøberne, der i forvejen har 1-2-3-4-5 andre. Selv på verdens plan er salget af nye plader uhyggeligt lavt. 

Nå bach to Bach.

Læser pt med største fornøjelse Karl Aage Rasmussen's geniale og intelligente bog om Glenn Gould, den geniale pianist der satte sig selv (også Bach) mest sig selv på verdenskortet med Golberg variationerne i 1955 og så ca 25 år frem.

[SES.]

På CD har jeg ”kun” den gamle legendariske med Johanna Martzy, en nutidig udgave har længe været påkrævet.
PS: Martzy – har du originalen på mint vinyl er der til en fed weekend på Falsled kro.

Nu er den nye bestilt – hun er uimodståelig!



awards:
• BBC Music Awards Finalist - April 2006
• MDT Best Seller - August 2005
• BBC Music Magazine Disc of the Month - August 2005
• MDT Best Seller - June 2005
• MDT Best Seller - May 2005

[macwerk]

Denne plade er kunst. Se hvad Ligeti skriver, han har ret. Jeg må have noget mobilt grej så jeg altid kan have denne plade på mig.

ps: mit forrige indlæg bliver rettet når jeg får tid. Der gik lidt for meget fessor i mig

György Ligeti:
"... but if I am allowed only one musical work on my desert island, then I should choose Koroliov's Bach, because forsaken, starving and dying of thirst, I would listen to it right up to my last breath."

Gramophone 1/2000, Lionel Salter:
"... Let's face it, the Art of Fugue is often made to sound dull and didactic: this performance, bursting with vitality is absolute riveting."

ClassicsToday:
Reference Recording - This one. "Evgeni Koroliov's well-deserved prominence among today's Bach pianists began, in effect, with this 1990 recording of The Art of Fugue, newly repackaged by Tacet. I preferred Tacet's original black cover design to the generic gray used for virtually all the label's new releases and reissues. But that's not important. What counts is Koroliov's non-egoistic mastery plus his total spiritual and musical immersion into Bach's valedictory opus. The pianist appears to have a brain in every finger as he contours the interweaving and often knotty polyphony with effortless control no matter what the tempo may be. On the back cover blurb, composer Gyorgi Ligeti claims that he would listen to this recording on a desert island until his last breath. We'll see about that! Tacet's clarion engineering does full justice to Koroliov's warm, firmly focused sonority. A recording you'll savor for years to come." Jed Distler

Denne super fantastiske CD kan overhovede ikke anbefales nok, men siden man ikke har hørt om det manglende minut (det sidste af track 9 på 2. CD) er så fordi det kun er på min at denne fejl optræder    

[macwerk]

Bach eller Bela tråden    Den skal ihvertfald ikke forsvinde i Hvad høre du nu tråden  

Ungarsk Jazz? Med dybe rødder i Bach og Bartok? Fungerer det ? I mine ører det rene fløde tilsat paprika. Produktion til 13+

The basic idea for the recording, "Contrasts and Parallels" actually came from producer Todd Garfinkle. A few years ago, as we were in the planning stages and thinking of what to do for MA, Todd suggested that we record my own jazz trio version of Bach’s Goldberg Variations, but that we should finish the record with a couple of Hungarian folk song adaptations. At first I couldn’t relate to the idea, because I thought that these two musical worlds were very far from each other. Then however, I realized that there are at least as many "parallels" as "contrasts" to be found, if you’re really looking. It is enough just to mention Béla Bartók, in whose late compositions the stylistic elements of Hungarian and Oriental folk music are significantly complemented by a contrapuntal development that clearly refers to J. S. Bach.

Alright, but the question then was: "How can I make these genres connect with each other, if I am to convey both of them through the improvisational language of jazz?" Clearly, there is an absolute need for a general idea that will recognizably join — even for the uninitiated - the different musical worlds involved. I didn’t have to ponder for too long before I hit on the obvious key concept: "VARIATION". This offered a natural connection to jazz, as the classical music form that stands closest to this genre is none other than the variation form. From this point the solution came rather naturally: I divided the content of the record into two parts, where the first part consisted of "Variations on Bach’s Goldberg Variations", in which besides the original, but reinterpreted Bach themes, my own "variations" or improvisations can also be heard, unfolding from certain motifs and harmonies in Bach`s music. The second part consists of my own composition based on a Hungarian folk song but developed through the forms of classical music, and of course, the improvisational parts are not missing either. That is how the piece called "Variations on a Folk Song" was conceived. I feel that in this work, I succeeded in creating a synthesis of three different musical styles (jazz- Baroque-folk music), whereas the first part consist of only two. The synthesis is most successful in the movement entitled "Passacaglia", since Passacaglia is one of the variational forms used in Baroque music, and here the Passacaglia theme is created from the basic motif of the folk song that is constantly present behind the Baroque and jazz style variations.

Obviously, this kind of production needed partners who are extremely open to all three musical worlds, and we found them in János Egri and Ferenc Németh.

After the two suites, we end the record with a short musical "afterthought", in which a folk song singer with an extraordinary and original voice, Irén Lovász sings. This "Afterthought" was written in homage to Béla Bartók, who also adapted this beautiful, simple folk song in his masterpiece entitled "Mikrokosmos." Bartók’s music has always had a very special place in my heart, his style greatly influencing my work both as a jazz pianist and a composer. For me, next to Bach, Bartók is the greatest composer. In both their musics, contrasting concepts such as "liberty — constraint" "consciousness - intuition" or "complexity - simplicity" have an equally significant role.
Kálmán Oláh

[Rytmik]

Hej
Dejlig Bach tråd. Jeg har ikke for meget af ham, men glæder mig over den inspiration I giver-Tak. En cd jeg er glad for er Rachel Podger der spiller Bach. (Jeg ville indsætte et billede, men det kan jeg ikke få til at fungere).

Mvh.