Mon, Fri 星期一、五 5:30pm
Monday and Friday: 5:30pm-6pm
A group of music critics guide you through some of the the most interesting new releases to keep you in touch with the latest fine music recordings.
Critic: Christopher Coleman
Renaud Capuçon expands his wide-ranging concerto discography with Bartók’s two violin concertos. Composed almost three decades apart, they are highly contrasted, inhabiting very different emotional and musical worlds. Partnering Capuçon is the London Symphony Orchestra under its Principal Guest Conductor, François-Xavier Roth.
Critic: Dennis Wu
This compilation features compositions, studies and fragments in various arrangements and at various levels of development, pieces that not only represent Bruckner’s course of study but also anticipate his future impact as a symphonist and reformer of musical idiom. So, just as a few pencil strokes outlining the architectural design of a magnificent building may give a more vivid impression than the final realisation of the design, the compositions from the study book may seem more vivid to us than the great symphony. They are a world unto themselves. Bruckner’s piano works (the compositions and sketches from the study book and the published works) occupy, at best, a marginal position in the eyes of the concert world, performers, listeners and organisers. Their rich substance is yet to be duly acknowledged, for these small-scale works are the fascinating building-blocks of great music. The school with which the composer allied himself through his study with connoisseurs of revolutionary musical initiatives (notably Otto Kitzler) has here been embraced by the genius to full effect.
Critic: Dennis Wu
Bela Bartok and George Enescu were born in same Year - 1881, Bartok in the Austrian-Hungarian city of Nagyszentmiklos (today Romania), Enescu in the Moldovian town of Liveni-Botosani (today Romania). Both pieces on this recording are youth works of theirs - 1900 (Enescu Octet) and 1907 (Bartoks 1st violin concerto). Both works were neglected - Enescus Octet for nearly a decade due to the challenges of the piece (being premiered in 1909) , and Bartoks concerto was neglected by its dedicatee, the violinist Stefi Geyer (who was also his young love), and was published only after her death, in 1956 (being premiered in 1958). Bartok and Enescu both died in self-chosen exile - Bartok 1945 in New York, Enescu 1955 in Paris - yet both were respected and admired for being contributers to the development of their countries’ culture and art, particularly as great «ambassadors» for the folk music.