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  • Grieg – “Peer Gynt” | ERSO
    Dialog der Stimmen in Solveigs Lied und das fein abgestufte Streicherbett in ihrem abschließenden Wiegenlied beides von Camilla Tilling mit berückend schönen Tönen ihres warmen Soprans und lupenreiner Intonation in den Vocalisen gestaltet Peter Mattei verleiht der Serenade des Titelhelden seinen geschmeidigen deutlich artikulierenden Bariton und Charlotte Hellekant macht selbst mit ihrem Miniauftritt als Anitra Eindruck In Aases Tod der so schnell in platter Sentimentalität untergehen kann fließt die Musik ohne auf die Tränendrüse zu drücken Der Schiffbruch wird zum sorgfältig ausbalancierten Tongemälde Die Bläsersolisten des Orchesters brauchen die Konkurenz bekannterer Klangkörper nicht zu scheuen man höre beispielsweise die exquisiten Hörner in Peer Gynt vor der Memnonsäule Und Pavo Järvi gelingte es grandios die Klangeffekte der Partitur umzusetzen selbst bekannte Stellen wie in der Halle des Bergkönigs bekommen so neue Kraft mit sicherem Gespür für die Wirkung wird dort der Choreinsatz vorbereitet Järvi versteht es eine Balance zwischen dem großem romantischen Orchesterklang des im Klangfarbenrausch schwelgenden Estonian National Symphony Orchestra und der Beweglichkeit der einzelnen Partiturteile herzustellen Die 20 eingespielten der insgesamt 26 Nummern der Schauspielmusik entwickeln beim Hören dieser Aufnahme eine Sogwirkung and atmosphärische Dichte die vergessen machen dass es sich um die Reihung einzelner meist unzusammenhängender Episoden der Schauspielmusik handelt Die Tempi die Järvi anschlägt sind zügig sein Zugriff teils sehr direkt Anitras Tanz so entsteht eine recht theatralische Wirkung was beim bloßen Hören der Musik ohne die dazugehörigen Dialoge kein Nachteil ist Der äußerst akzentuiert musizierte Arabischen Tanz oder die derben Bauerntänze geraten auch deswegen so lebendig und unmittelbar Zu erwähnen bleibt dass es nicht die vollständige Partitur ist die hier eingespielt wurde die Melodramen mit ihrem gesprochenen Text fehlen ebenso wie einige kürzere Orchesterstücke z B Die Jagd Peer Gynts durch die Trolle angesichts der Spielzeit von nur 60 Minuten ist das unverständlich Die Aufnahmequalität läßt mit ihrem warmen vollen Klangbild keine Wünsche offen und unterstützt mit ihrem breiten Klangpanorama den Akzent eines großen symphonischen Werkes Das Beiheft bietet die gesungenen Texte und eine knappe Werkeinführung Eine auf jeden Fall empfehlenswerte Einspielung Uwe Schneider klassik com The Daily Telegraph Since the complete score of incidental music to Ibsen s Peer Gynt was finally published in the 1980s the richness of Grieg s inspiration only part of which comes across from the familiar suites has become fully apparent This new recording includes about two thirds of it but in doing without the speaking voices that gave so much to the previous recordings by Herbert Blomstedt Decca similarly a single disc potted version and Neeme Järvi DG complete Paavo Järvi deprives himself of the kind of melodramatic numbers such as Peer Gynt and the Great Bøyg that really bring the drama to life despite being in Norwegian Without that sense of narrative the effect is more like an extended suite for all the vocal snippets Yet what we do have is performed with relish with Camilla Tilling a moving Solveig and Peter Mattei and Charlotte Hellekant making the most of their cameos as Peer and Anitra The choral

    Original URL path: http://www.erso.ee/?record=grieg-peer-gynt (2016-02-07)
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  • Eduard Tubin – “Kratt” | ERSO
    1 I vaatus Krati tegemine 22 18 2 II vaatus Krati töö 31 22 II CD 1 III vaatus Õitsilised 23 34 2 IV vaatus Maksamerelised 13 51 Sümfoniett eesti motiividel ETW 11 21 34 3 I Allegro vivace e grazioso 8 14 4 II Ostinato Largo 7 19 5 III Finale Allegro molto moderato 6 01 Kokku 113 12 ARVUSTUSED www tanznetz de Sümfonistina tuntud Eduard Tubina balleti Kratt

    Original URL path: http://www.erso.ee/?record=eduard-tubin-kratt (2016-02-07)
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  • Luigi Cherubini – Requiem | ERSO
    Requiem Alba Records 2004 Eesti Riiklik Sümfooniaorkester Eesti Rahvusmeeskoor Koormeister Ants Soots Dirigent ANDRES MUSTONEN Luigi Cherubini 1760 1842 Reekviem d moll meeskoorile ja orkestrile 1836 1 Introitus et Kyrie 11 36 2 Graduale 4 18 3 Dies irae 13 52 4 Offertorium 7 35 5 Sanctus 3 43 6 Pie Jesu 4 18 7 Agnus Dei 9 58 Kokku 55 20 Search for Liitu meililistiga Nimi E post Meie

    Original URL path: http://www.erso.ee/?record=luigi-cherubini-reekviem-d-moll (2016-02-07)
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  • Arvo Pärt – “Pro et contra” | ERSO
    Pärt s intentions or not I can t say Limited to one disc perhaps I d choose the earlier one but it is good to have both of them for the unique works that each one contains Raymond Tuttle www amazon com Fans of Arvo Part s gorgeous brand of minimalism all soft neo medieval and tintinablular will be enormously surprised by this program The six pieces were composed before his re examination and re emergence in 1976 after a five year period of silence They are what one thinks of when one thinks of a certain variety of fascinating if noisy and vaguely unpleasant modern music the type of work one expects to hear led by Pierre Boulez In other words we are dealing here with atonality experimentalism and serialism There are huge sonic clusters designed to upset and statements about music are made by the music itself The opening piece Pro Contra essentially a concerto for cello begins with a lovely D major chord which is immediately followed by a huge crash of dissonance it is shocking and it ismeant to be The Second Symphony features the sounds of kid s squeaky toys The brief piece from Part s student period Meie aed is for girl s choir and is entirely gentle and tonal a grand piece of Soviet goodness Perpetuum Mobile is a seven minute crescendo which can knock you off your seat The playing and singing under Paavo Jarvi are spectacular In brief this is not the Part you ve come to know and love but it s fascinating to hear what he was like before he became who he was Robert Levine Audiophile Audition Hats off to producer Maido Maadik who no doubt selected the compelling and wildly entertaining pieces on this disc Culled largely from Arvo Pärt s experimental period of the sixties this collection features astounding forays into serialism and aleatory techniques Who else would begin his Symphony No 2 1966 with the sounds of children s squeak toys Then the bad boy of the Estonian avant garde Pärt uses other shocking effects like clusters increasing in dynamics and chaos then dissolve and calm sonorous moments assaulted with abrupt dissonance This is not the composer most of us know now a pious and placid figure whose work is more closely connected to the 16th century than the 20th Pro and Contra 1966 is the most exciting piece on the disc Its furious energy reminds me of the opening of Shostakovich s 1959 Cello Concerto No 1 a piece that first rate cellist Truls Mørk also plays The third movement will both amuse and leave you breathless Most uncanny is the inclusion of a socialist realist choral work from Pärt s student days Meie aed Our Garden 1959 An innocent sounding girls choir sings of the joys of cultivating its school garden a naïve metaphor for socialist society Like Prokofiev s terrified On Guard for Peace 1950 or Shostakovich s four square Song of

    Original URL path: http://www.erso.ee/?record=arvo-part-pro-et-contra (2016-02-07)
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  • Eduard Tubin – sümfooniad nr 9, 10 ja 11 | ERSO
    Sümfoonia nr 10 Sümfoonia nr 11 lõpetamata ARVUSTUSED Classics Today After the acerbic frequently tormented style of Symphonies 6 8 Eduard Tubin s last works in the form reveal him as less concerned with pain and suffering and instead preoccupied with comparatively tuneful gracious thematic material lucidly organized In this he resembles Sibelius particularly in the single movement 10th Symphony a work as organic in its growth and development as Sibelius Seventh Tubin s orchestration also thins out considerably in these later works with percussion limited to timpani and the scoring more open and widely spaced among instrumental groups than previously Symphony No 9 subtitled Sinfonia semplice lives up to its title The first movement reveals as shapely an example of sonata form as Haydn or Mozart ever wrote with clearly defined thematic groups and a pellucid development section The second movement beginning slowly includes an exceptionally deft quick fugue on the way to its peaceful close Symphony No 11 only the first movement of which was performable after Tubin s death shows the composer returning to the neo classical manner of such works as the Fourth and Fifth Symphonies allied to his newly luminous scoring Neeme Järvi recorded the Ninth and Tenth symphonies for BIS very successfully As usual he tends to be a bit swifter than Arvo Volmer in the slow movements but here Volmer s slightly more measured serenity accompanied by beautiful string playing from the Estonian National Symphony Orchestra easily renders these performances the equal of Järvi s and some listeners may very well prefer them In any case the differences are slight and the recorded sound of this release is excellent in every way warm and ideally balanced with superior depth and transparency This is music well worth getting to know and these interpretations make

    Original URL path: http://www.erso.ee/?record=eduar-tubin-sumfoonia-nr-9-10-ja-11 (2016-02-07)
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  • Sibelius – kantaadid | ERSO
    makeweights to Berglund s second recording 1980s of Kullervo with the Helsinki Philharmonic The Bis Sibelius Edition which has recently reached its 51st volume has included such works but they are scattered here and there across a variety of discs and couplings Snöfrid pleasingly sets a Swedish text by Viktor Rydberg for female orator and mixed choir Its saga subject has temptress trolls a storm evoked in the first few minutes and a defiant hero The women s voices have a most agreeable recorded presence Just before they enter we have a startlingly familiar gesture from the Second Symphony The pleasing immediacy of the choir also registers in the lovely roundedness of the Oma Maa which is concerned with evocations of Midnight Sun not nationalistic bombast The music becomes increasingly devotional with its invocation and praise centring on nature and the sun If you think in terms of the glowing choral version of Rakastava with an added vibrancy then you are not far amiss in understanding this work Väinön virsi is a late work piece but you must not expect anything revolutionary Here Sibelius keys back into the idiom he had in the 1890s This is related to the Karelia music The subject is from the Kalevala where Väinämöinen prays to Jumala the Creatrix for protection strength and harvests This is more dramatically drawn than Oma Maa and in the background the clink of Väinämöinen s forge can be heard as the singing rises to the glowing sun dazzled heights Maan Virsi is for mixed chorus not as described in the booklet and insert The zither like kantele is evoked by the pizzicato writing A relaxed serenade at 3 51 for orchestra delightful ushers in the returning choir This is classically poised Sibelius rising to the best structured climactic statement

    Original URL path: http://www.erso.ee/?record=sibelius-kantaadid (2016-02-07)
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  • Lepo Sumera | ERSO
    32 5 I Andante furioso 14 00 6 II Andante 10 27 ARVUSTUSED Viimased asjad Traagiliselt vara 50 aasta vanuselt suri Lepo Sumera 1950 2000 Ikka veel on ta Läänes kaugelt tundmatum kui Arvo Pärt või Sumera õpilane Erkki Sven Tüür mida võib pidada suureks ebaõigluseks Tema 5 esimest sümfooniat kirjutatud alates 1981 rahvusvaheliselt väljapaistvad vabameelsed meistriteosed surematus žanris on juba kaua BIS plaadifirmas saadaval Käesolev kogumik sisaldab vaid hiliseid teoseid niiöelda viimaseid asju 1997 ndal aastal valminud Musica profana keelpilliorkestrile mängib esmapilgul peaaegu minimalistlikult ikka ja jälle murduvate baroksete motiividega samas moodustub struktuurilis intervallilisest tagapõhjast muljetavaldavalt tihe kude 1998 99 David Geringasele kirjutatud Tšellokontsert sobib esitajale nagu valatult pakkudes talle ohtralt võimalusi üles ehitada virtuoosset draamat üliintensiivsete puhangute ja lõpmata õrnade ent mitte iial odavalt sentimentaalsete meloodiatega mis ka väga veenvalt õnnestub esitus puudutab hinge Üle kõige muu kõrgub siiski 6 sümfoonia mille Sumera vaid natuke enne oma surma lõpetas Kuulates selle üha sügavamale tungivat selle maailma hädasid igaviku loori taha jätvat finaali on raske ette kujutada et helilooja siin oma peatset elulõppu ette ei aimanud Sümfoonia esimene osa mõjub oma ekstreemsete kontrastide ja suurepärase värvipaletiga läbinisti haarava tihti üllatava ülimalt meeleoluka ja kogumuljes suurejooneliselt korraldatud maalina mis on

    Original URL path: http://www.erso.ee/?record=lepo-sumera (2016-02-07)
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  • Arvo Pärt – “Summa” | ERSO
    also the first movement And as David Nice rightly remarks in an unusually perceptive booklet note there is more than a hint of the spring water purity of Sibelius s Sixth Symphony in the finale Everywhere one senses the hovering spectre of early music Perotinitis as I heard myself say but this Third Symphony is the ideal stepping stone for first timers who wish to journey from standard symphonic fare to Pärt s cloistered tintinnabulation Another major contrast emerges between Paavo Järvi s broad and dynamic account of Trisagion and the lighter more incisive and significantly swifter Lithuanian Chamber Orchestra version 11 53 as compared with järvi s 14 51 Järvi s performance is less finely traced than that of Saulius Sondeckis but the dramatic denouement carries greater weight The more familiar tintinnabulation pieces work very well with Järvi opting in the Cantus and Festina lente for warmer textures than some rivals which usefully underlines Pärt s quietly cascading harmonies There are those including me who will still prefer a more chaste sonority the sort favoured on virtually all the ECM productions But my guess is that Paavo Järvi s more central approach will appeal to those who until now have heard in Pärt s music ascetic denial rather that quiet affirmation Virgin s sound canvas is well judged especially at the lower end of the spectrum Recommended Rob Cowan BBC Music Magazine 02 2003 As throughout this disc the playing of the Estonian National Symphony Orchestra is expressive but controlled with beautiful string tone Performance Sound Stephen Johnson Le Monde de la musique 03 2003 Choc de la musique Franck Mallet Fono Forum 04 2003 Interpretation Klang Tilman Urbach Sirp 10 01 2003 See CD on möödunud aasta plaatidest üks värskemaid salvestatud küll juunis 2000 ilmus see alles nüüd aastavahetuse paiku Seitse Arvo Pärdi teost mis plaadil kõlavad Summa Trisagion Kolmas sümfoonia Fratres Silouans Song Festina lente ja Cantus in memoriam Benjamin Britten on kõik tuntud ja palju analüüsitud lood seitsmekümnendatest kaheksakümnendate algusest Samas hõlmab CD nii Pärdi tintinnabuli eelset muusikat Kolmas sümfoonia tintinnabuli teoseid Summa Cantus kui vene õigeusuga seonduvat Silouans Song Trisagion Ilmselt pole kuigi mõttekas Pärdi selle perioodi teoseid ajaliselt lahterdada Kolmanda sümfoonia 1971 arhailisele keskajale viitavad kooskõlad ilmuvad näiteks Cantus es lihtsalt teisel kujul ja teises väljendusvormis Pärt on ikka Pärt nii muutumises kui samaksjäämises Summa originaal on küll tenorile bassile ja kuuele instrumedile kuid nüüdse keelpilliorkestri redaktsiooni esitus kõlab plaadil samuti vokaaliga võrreldavalt see puudutab eriti keelpillide sujuvat fraseerimist ning ühtset hingamist Trisagion is keelpilliorkestrile modelleerib Paavo Järvi sugestiivselt nii temposid kui subito forte sid mis on suuresti tänu oskuslikult kujundatud agoogikale ka esituslikult veenvalt ja loomulikult ette valmistatud esituse sisemine dramaturgia oma liikumises nii ühelt episoodilt teisele kui ühelt mõttekeskmelt järgmisele on samuti hästi jälgitav Kolmas sümfoonia on plaadil ainus teos kus kõlab sümfooniaorkestri suur puhkpillide kolmene koosseis Esimese osa esituses on eepilist panoraamsust mida liigendab vaskpillide massiivne akordisammastik Töötlevas episoodis teeb dirigent mõjuva accelerando mis muusikat dramaatiliselt pingestab Eriliselt tuleb avaosas samuti

    Original URL path: http://www.erso.ee/?record=arvo-part-summa (2016-02-07)
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