|
|
SEE ALSO
RELATED COMPOSITIONS:
Concerto for Violin and Orchestra
RELATED RECORDINGS:
Violin Concerto / Prelude and
Dance from Akhnaten / Company on Naxos
Violin Concerto on Deutsche Grammophon
Violin Concerto on Telarc
Violin Concertos
(1999)
Music by Philip Glass / Ned Rorem / Leonard Bernstein
Gidon Kremer, solo violin
Vienna Philharmonic Orchestra, conducted by Christoph von Dohnanyi
New York Philharmonic, conducted by Leonard Bernstein
Israel Philharmonic Orchestra, conducted by Leonard Bernstein
CATALOG:
Deutsche Grammophon
TRACKS:
| 1-3 | Philip Glass Concerto For Violin And Orchestra |
| 4-9 | Ned Rorem Violin Concerto |
| 10-14 | Leonard Bernstein Serenade (after Plato's Symposium) for violin and orchestra |
NOTES:
Here are three 20th-century violin concertos written within a 30-year period
in three totally different styles, played by a soloist equally at home
in all of them. Bernstein's Serenade, the earliest and most accessible
work, takes its inspiration from Plato's Symposium; its five movements,
musical portraits of the banquet's guests, represent different aspects
of love as well as running the gamut of Bernstein's contrasting compositional
styles. Rorem's concerto sounds wonderful. Its six movements have titles
corresponding to their forms or moods; their character ranges from fast,
brilliant, explosive to slow, passionate, melodious. Philip Glass's concerto,
despite its conventional three movements and tonal, consonant harmonies,
is the most elusive. Written in the "minimalist" style, which
for most ordinary listeners is an acquired taste, it is based on repetition
of small running figures both for orchestra and soloist, occasionally interrupted
by long, high, singing lines in the violin against or above the orchestra's
pulsation. Gidon Kremer, well known for his championship of contemporary
composers, plays fabulously; his tone soars, shimmers, and glows. His identification
with the music is complete.
— Edith Eisler (Amazon.com)