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Having written a number of works that have received worldwide acclaim, we welcome him to these pages with the three world premiere recordings presented here. The program begins with his large-scale, four-movement violin concerto of Dedicated to his friend and benefactor, Israeli polymath-philanthropist Zvi Meitar ; see the informative album notesthere are Semitic overtones throughout.
What's more, the composer says it was written to continue Donald francis tovey essays tradition of those "big" works in the genre that appeared during the late s and first part of the 20th century.
Then there's a sad Eastern-sounding theme SE in the winds [ Incidentally, some may find SE brings to mind the opening of Tchaikovsky's violin concerto An antsy exploratory episode comes next [ Then a repeat of SE in the winds [ Here a final reminder of SE [ This is the subject of what the composer refers to as a romanza, and ends much like it began.
LW pervades this heartbreaking movement, which ends as sadly as it began.
Pounding timpani PT and an excited tutti start the concluding allegro [T-4]. Then the soloist enters, playing a frenetic theme [ There are allusions to SE [ But busy passages reminiscent of the opening resume [ Commissioned for Meitar's see above seventy-fifth birthday, the next selection has an imposing title, to wit, The Big Bang and Creation of the Universe.
Here the composer takes inspiration from recent cosmological theory as well as the Old Testament, Book of Genesis. The first of its three movements marked "Light. This is the quantum event that inflates into his cosmos. Moreover, other instruments soon enter playing a variety of M3-sired ideas reflecting the diversity of Creation.
These passages wax and wane into a vibraphone-introduced afterthought [ Adagio" [T-6] starts with low strings repeating an M3-initiated twelve-note motto M12 [ This conjures up images of vast empty spaces, after which that ubiquitous vibraphone introduces a comforting, Mbased segment [ Then M12 returns [ Things brighten with the closing "Adam and Eve.
Allegro" [T-7] that begins with a frisky, Mrelated dance FM [ Subsequently the music becomes introspective [ This grows austere [ The title in Hebrew is Tel Avivwhere the composer was born, and accordingly he says the piece pays homage to his homeland.
Apparently, he applies what he refers to as a "multimelodic" technique here. This is described as a continuous flow of contrapuntally overlapping themes designed to hold the listener's attention.
The work has a PT-introduced, excited beginning somewhat like the last movement of the violin concerto. After that three engaging ideas in the winds [ These compete with one another for the remainder of the piece in a series of episodes that are alternately busy, wistful [ Here more PT passages as well as some additional pizzicato accompaniment make the music all the more colorful, Then, reminiscences of the opening measures [ And that wasn't long in coming as her disc became an award-winning bestseller, and she was soon a favorite with concert audiences.
Trynkos gives us an inspired account of the Borenstein concerto. She receives strong support from that famed pianist now turned conductor, Vladimir Ashkenazy, who leads the relatively new Oxford Philharmonic Orchestra established A champion of Nimrod's music, he delivers scintillating performances of these works, which should win many converts to the Borenstein cause.
Done last winter in Henry Wood HallLondon, the recordings are very good. The stereo tracks project a broad, deep sonic image in a warm, ideally reverberant venue with Ms.
Trynkos violin beautifully captured and balanced against the orchestra. The instrumental timbre is pleasing throughout all three play modes with the SACD ones projecting a slightly softer image. The multichannel track gives you a center orchestra seat several rows back from the concert stage.
It also imparts an increased sense of ambient space, adding clarity to Borenstein's more structurally dense passages.Get Textbooks on Google Play.
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By Donald Francis Tovey. The tide turned in due course. Writing in , Donald Francis Tovey dismissed the “sad nonsense” of “a long time ago,” and proclaimed the Seventh “so overwhelmingly convincing and so obviously untranslatable that it has for many generations been treated quite reasonably as a piece of music, instead of an excuse for discussing the French Revolution.”.
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