It makes perfect sense that Bohuslav Martinu was a fan of the viola; the
instrument’s generous, conversational voice is exactly right for his
music, and this recording from Ukrainian violist Maxim Rysanov is easy
proof of why. Martinu grew up in a church tower in small-town Moravia,
watching the sporadic stream of townspeople down below. Those organic
real-life rhythms are everywhere in his music — listen to the second
movement of the Rhapsody-Concerto (1952) to hear fleeting modal shifts,
folk melodies laced with trepidation and motoric outbursts jostling
against lush pastoralism. Rysanov clinches the shifting characters and
always makes his lines sing; conductor Jiri Belohlavek draws warmth and
brawn from the BBC Symphony Orchestra. In the sunny Three Madrigals
(1947) and restive Duo No. 2 (1950) Rysanov soars and spars with
violinist Alexander Sitkovetsky; the Sonata for Viola and Piano (1955)
sounds like it’s been recorded from far away, but I love the stately
breadth that Katya Apekisheva brings to the piano lines. (The Guardian)viernes, 9 de octubre de 2015
Maxim Rysanov plays MARTINU
It makes perfect sense that Bohuslav Martinu was a fan of the viola; the
instrument’s generous, conversational voice is exactly right for his
music, and this recording from Ukrainian violist Maxim Rysanov is easy
proof of why. Martinu grew up in a church tower in small-town Moravia,
watching the sporadic stream of townspeople down below. Those organic
real-life rhythms are everywhere in his music — listen to the second
movement of the Rhapsody-Concerto (1952) to hear fleeting modal shifts,
folk melodies laced with trepidation and motoric outbursts jostling
against lush pastoralism. Rysanov clinches the shifting characters and
always makes his lines sing; conductor Jiri Belohlavek draws warmth and
brawn from the BBC Symphony Orchestra. In the sunny Three Madrigals
(1947) and restive Duo No. 2 (1950) Rysanov soars and spars with
violinist Alexander Sitkovetsky; the Sonata for Viola and Piano (1955)
sounds like it’s been recorded from far away, but I love the stately
breadth that Katya Apekisheva brings to the piano lines. (The Guardian)
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When I first got to know Martinu's music I had pech enough to come accross some quite unaccessible pieces. Everything I've listened to afterwards has turned out to be far more pleasant. This cd is pure joy.
ResponderEliminarThanks a lot for this. I was looking forward to evaluate it and I will definitely order it, there is an UK retailer offering it at a fine price.