Martinu - Double Concertos for Violin and Piano
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Label: Pentatone
Cat No: PTC5186658
Format: Hybrid SACD
Number of Discs: 1
Genre: Orchestral
Release Date: 20th April 2018
Contents
Works
Concerto for 2 violins in D major, H329Concerto for two pianos and orchestra, H292
Rhapsody-Concerto for viola and orchestra
Artists
Deborah Nemtanu (violin)Sarah Nemtanu (violin)
Magali Demesse (viola)
Mari Kodama (piano)
Momo Kodama (piano)
Orchestre Philharmonique de Marseille
Conductor
Lawrence FosterWorks
Concerto for 2 violins in D major, H329Concerto for two pianos and orchestra, H292
Rhapsody-Concerto for viola and orchestra
Artists
Deborah Nemtanu (violin)Sarah Nemtanu (violin)
Magali Demesse (viola)
Mari Kodama (piano)
Momo Kodama (piano)
Orchestre Philharmonique de Marseille
Conductor
Lawrence FosterAbout
Bohuslav Martinů’s distinctive musical voice, which infuses the great Czech tradition with modern idioms, is showcased in this captivating survey of his concertante works, performed by the Orchestre Philharmonique de Marseille conducted by Lawrence Foster.
The Concerto for Two Pianos and Orchestra is a lively and rhythmic tour de force. Breezily energetic and relentless, it is full of jazzy inflections and high speed fireworks, pausing only in the tranquillity of the slow movement for moments of serene calm. By contrast, the Concerto for Two Violins and Orchestra is a warm, lyrical work in the Romantic tradition. With its intricate and interweaving solo lines, expansive melodies and dance-like syncopations it’s an engaging work of considerable charm which deserves a wider audience. The Rhapsody-Concerto for Viola and Orchestra is a dreamily nostalgic work whose simple melodies, radiant lyricism and soaring viola line make it one of the 20th century’s most performed viola concertos.
This release reunites the Kodama sisters in the studio following their scintillating recording of Tchaikovsky ballet suites for Pentatone. In a review of a public performance of the Martinů Concerto for Two Pianos and Orchestra, the Ziebline journal wrote “Mari and Momoyo Kodama are extraordinary ... The fingers of the Japanese musicians were flying with with diabolic ease and finesse: a stunning finale.”
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