向来是Harmonia Mundi小提琴台柱的佛斯特，专辑总是屡屡让乐迷望穿秋水殷切期盼，也证明其居高不下的人气。 这张布拉姆斯小提琴协奏曲更找来目前当红的年轻指挥丹尼尔．哈丁搭配马勒室内管弦乐团，这样的明星组合已是 让人迫不及待想一听为快。佛斯特在解说册开头引用一段19世纪知名小提琴家姚阿幸以他身为演奏者的观点提出对 布拉姆斯弦乐作品的评价。有别於巴哈或是莫札特这种精通各种乐器创作的作曲家，布拉姆斯总是从钢琴家的角度 出发洞察乐曲该往何种方向，以小提琴协奏曲为例，他和姚阿幸之间光是交换想法便耗去一年的时间，从这边也可 以看出姚阿幸的意见对这首乐曲的最后样貌产生何等重要的影响，也让它名列难度颇高的小提琴协奏曲。值得一提 的是佛斯特在华彩乐段罕见的採用布梭尼1913年的修订版本。以神童之姿崛起的布梭尼吸引了布拉姆斯的注意，并 且向许多文艺圈极力推荐这位年轻钢琴家「我会像舒曼提携我那般来拉拔布梭尼」。 除了在创作协奏曲时倾听姚阿幸的意见，布拉姆斯在室内乐领域也是相当倚重他的经验，专辑的另一首第二号六重 奏同样可以看到姚阿幸的精神。1958年布拉姆斯和女高音阿嘉莎．冯．席博德陷入热恋，但是布拉姆斯对於爱情虽 有期待却又不希望自由的艺术家生活被婚姻束缚，在一封给女方的信中他说「我爱你，我想再见到你，但我不想被 枷锁束缚」。最后恋情告吹，1865年布拉姆斯也将这份最后的浪漫放入六重奏之中纪念这段无缘的结局。
Violin Concerto in D major, Op. 77
Isabelle Faust (violin)
Mahler Chamber Orchestra, Daniel Harding
String Sextet No. 2 in G major, Op. 36
Sextet: Isabelle Faust, Julia-Maria Kretz (violins), Stefan Fehlandt, Pauline Sachse (violas) & Christoph Richter & Xenia Jankovic (cellos)
HMC902075 伊莎蓓儿·佛斯特/布拉姆斯:小提琴协奏曲,第2号弦乐六重奏 Brahms:Violin Concerto,String Sextet No. 2 (harmonia mundi)
Brahms：Violin Concerto, String Sextet No.2 / Isabelle Faust
演出者：布拉姆斯 Johannes Brahms
张数：1 张 - 1CD
Performer: Isabelle Faust
Orchestra: Mahler Chamber Orchestra
Conductor: Daniel Harding
Composer: Johannes Brahms
Audio CD (March 8, 2011)
SPARS Code: DDD
Number of Discs: 1
Label: HARMONIA MUNDI
Average Customer Review: 5.0 out of 5 stars See all reviews
5.0 out of 5 starsA modern sensibility steeped in classical values
By Larry VanDeSande VINE VOICE on June 16, 2011
Format: Audio CD
German born violinist Isabelle Faust and conductor Daniel Harding, the pairing here in Brahms' famous Violin Concerto Op. 77, belong to the modern school of period-induced playing and conducting. My previous experience with Faust was as violinist on a recording of Brahms chamber music and I last met Harding when he conducted some Beethoven overtures. I liked neither recording as well as I like this classically-rendered version of the concerto.
Faust, who was a Gramophone young artist of the year in 1997 after the release of her first album, built her reputation pursuing chamber music, 20th century and and lesser-known repertory from the likes of Jolivet, Ligeti, Danielpour and the concertos of Michael Jarrell and Thomas Larcher that were dedicated to her. In the intervening years, she has gone on to record famous concertos by Bach, Dvorak and Beethoven.
The Brahms concerto transcends these great works because of its classic lines of construction expressed in musical language from the late romantic period. Brahms built a titanic first movement, followed by a heartfelt and melodious slow movement, and wrapped up the affair with a rondo-dance. While transferring the emotional volatility of late 19th century romance, his classical concerto eschews the excesses of Tchaikovsky and other late romantics.
A virtuoso of the first order playing a 1704 Stradivarius, Faust seems to understand this. With bowing and double stops that match any violinist alive today, she practices virtuosic and emotional restraint while matching her orchestral partners' dramatic sweep and tension in the 20-minute opening movement, then quietly settles into Brahms' self-defined "feeble adagio" before sweeping away listeners with bravura playing in the Hungarian finale.
Using Ferrucio Busoni's first movement cadenza underlined by Harding's timpani, Faust is abetted by Harding and the 14-year-old Mahler Chamber Orchestra -- a modern period ensemble of about 40 players -- in a recording strong on orchestral clarity and power mated to vivid execution with solo work full of expressive character. While the Mahler Chamber Orchestra lacks the weight of a larger ensemble, and some listeners may not like all the sounds the horns make, they carry the argument splendidly in support of the soloist.
There are other versions of this concerto I enjoy -- Kennedy's indulgent version that stretches out the music 45 music and Heifitz's fiery virtuosity chief among them -- but none have the combination of expressive playing, clarity in execution and dramatic thrust this one demonstrates.
The significant add-on is Brahms Second Sextet for strings, Op. 36, a piece that projects more the autumnal resignation of his final symphony and Alto Rhapsody than the forward-stepping romance and triumph of the violin concerto. Faust leads from the violin in a reading that is, again, of 21st century sensibility while steeped in the classical (and traditional) values that make Brahms history's No. 4 classical composer behind only Beethoven, Bach and Mozart.
To hear one moment that envelops the sextet's enchanting playing and scintillating interpretation, listen to the way Faust et al handle the first movement's exposition subject on repeat, playing with tenderness and utter sensitivity to the changing moods of the piece, and hardly just playing the music that came a few minutes earlier. Even speeds a point or two faster than the norm do nothing to keep this performance from the first rank.
The CD version of this recording is handsomely packaged in a box, not a plastic case, the opens to a second set of foldouts containing the CD and the removable 42-page booklet. The latter contains an essay from Roman Hinke on the connection between Joseph Joachim and the Brahms concerto as well as three pages from Faust on her impressions of the music and why she chose Busoni's 1913 cadenza. The up close recording was made in Berlin in 2010.
In fine modern sound, Harmonia Mundi has created a 75-minute concert that Brahms lovers, whether wedded to the high cholesterol, big band oeuvre from the likes of Furtwangler, Karajan and Klemperer to the most modern school of playing, can enjoy equally. Only those unjustly averse to period style should avoid this exceptional chamber-sized issue.
Release date:28th Feb 2011
Brahms* – Isabelle Faust, Daniel Harding, Mahler Chamber Orchestra – Violin Concerto, String Sextet No. 2
Label: Harmonia Mundi – HMC 902075
Format: CD, Album
The booklet of Isabelle Faust’s new recording includes an essay written by her regarding the performing editions used and the significance of the violinist Joseph Joachim in the string works of Johannes Brahms, as seen from a performer’s point of view. Since Brahms did not belong to a generation of composers who mastered several different instruments – as had Bach or Mozart – and composed from the perspective of a pianist, his exchange of ideas with Joachim, which in the case of the Violin Concerto lasted almost a year, was of decisive importance for the final form of the piece, one of the most difficult in the repertoire. Isabelle uses the rarely played cadenza by Ferruccio Busoni, which dates from 1913. Brahms got to know Busoni as a child prodigy and recommended the young pianist in a number of artistic circles: ‘What Schumann did for me, I will do for Busoni.’ The spirit of Joseph Joachim also hovers over the second work on this recording, for the composer regarded the violinist as his most important adviser in the realm of chamber music too. In the case of his Sextet, however, the most perceptible influence is that of the doomed love affair between the composer and the soprano Agathe von Siebold. That Brahms was unable to overcome their separation with a light heart is clear from the monument in sound to his lost romance in the lyrical second theme of the first movement. ‘A-GA- D/H-E’1 proclaims the sequence of notes making up the motif (bars 162 ff). Isabelle generously credits Christopher Hogwood, Robert Pascall, Stefan Weymar and Douglas Woodfull-Harris for their active support in all questions relating to the manuscript and the first edition of Op.36 and for generously making available a prepublication copy of the new Bärenreiter edition. Gramophone Magazine gave Isabelle Faust its Young Artist of the Year Award for her first recording of sonatas by Béla Bartók, in 1997 [now reissued on hm gold with volume 2].
The year 2010 marked a new stage in her recording career: Diapason voted her CD of Bach Partitas and Sonatas a Diapason d’Or of the Year, while her complete set of the Beethoven Sonatas with Alexander Melnikov, received the Gramophone Award for Best Chamber Recording. Composed of around 40 musicians from 20 different nations, and independent of external sponsorship, the Mahler Chamber Orchestra was founded in 1997 by the players themselves and Claudio Abbado. In 1998, at the age of 22, Daniel Harding became Principal Guest Conductor; in 2003 he was named Music Director and he has served as Principal Conductor since 2008, conducting around a quarter of the orchestra’s projects each season. He is also Music Director of the Swedish Radio Symphony Orchestra, Principal Guest Conductor of the LSO and Music Partner of the New Japan Philharmonic Orchestra.
“a poetic player with an irresistibly warm sound, a tightly controlled vibrato and an athletic technique." BBC Music Magazine
Violin Concerto In D Major, Op. 77
Cadenza – Ferruccio Busoni (37:05)
1. I. Allegro Ma Non Troppo 20:35
2. II. Adagio 8:50
3. III. Allegro Giocoso, Ma Non Troppo 7:38
String Sextet No. 2 In G Major, Op. 36 (37:46)
4. I. Allegro Non Troppo 14:38
5. II. Scherzo. Allegro Non Troppo 6:41
6. III. Poco Adagio 8:18
7. IV. Poco Allegro 8:04