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OC 0799
BARBER, S. / KORNGOLD, E.W.: Violin Concertos / WAXMAN, F.: Carmen Fantasie (Gilman, Cape Town Philharmonic, Perry So)

BARBER, S. / KORNGOLD, E.W.: Violin Concertos / WAXMAN, F.: Carmen Fantasie (Gilman, Cape Town Philharmonic, Perry So)

The Classical Shop
release date: March 2012


Artists:

Cape Town Philharmonic Orchestra


So, Perry


Alexander Gilman

Soloist

Perry So

Soloist

Record Label
Oehms Classics

Genre:

Orchestral & Concertos


Classical

Total Time - 67:52
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BARBER, S. / KORNGOLD, E.W.: Violin Concertos / WAXMAN, F.: Carmen Fantasie (Gilman, Cape Town Philharmonic, Perry So)

     
Select Complete Single Disc for
     
 

SAMUEL BARBER

 

Violin Concerto, Op. 14

 
1 I. Allegro 11:21
 Alexander Gilman Soloist
     
2 II. Andante 9:17
 Alexander Gilman Soloist
     
3 III. Presto in moto perpetuo 3:46
 Perry So Soloist
     
 

ERICH WOLFGANG KORNGOLD

 

Violin Concerto in D major, Op. 35

 
4 I. Moderato nobile 9:44
 Alexander Gilman Soloist
     
5 II. Romanze: Andante 8:55
 Perry So Soloist
     
6 III. Finale: Allegro assai vivace 7:44
 Perry So Soloist
     
 

FRANZ WAXMAN

7 

Carmen Fantasie

11:29
 Alexander Gilman Soloist
     
 

JOHN WILLIAMS

8 

Schindler's List

5:36
 Perry So Soloist
 So, Perry


On his new album issued by OehmsClassics, Alexander Gilman dedicates himself to two grandiose violin concertos composed within six years of each other: Barber’s Concerto, Op. 14 (1939) and Korngold’s Concerto, Op. 35 (1945).

Whereas Korngold processed themes from his film music, Barber set the yardstick especially high for the soloist in the third movement of his Concerto. Alexander Gilman and the Cape Town Philharmonic Orchestra, however, do not seem to have any difficulties with it.

The album programme is completed by the Carmen Fantasy by Franz Waxman (originally from the film Humoresque) and the famous main theme from the film Schindler’s List by John Williams.

"Alexander Gilman produces a glowing tone from his Giovanni Battista Guadagnini violin…His generally more relaxed approach doesn’t prevent him or the orchestra from soaring in the climactic moments. Oehms’s engineers have set him just a bit forward, with just enough of the spotlight focused on him to lend him soloistic prominence. He and So take their time in the slow movement without giving even a hint of immobility; in the middle section, his tone grows temporarily as glutinous as Mischa Elman’s. And at last, alchemist Gilman transmutes even the finale’s most mechanical perpetual-motion elements into musical gold... Gilman’s corresponding timbral lushness extends from the top to the bottom of his violin’s range, and together violin and orchestra collaborate in a richly atmospheric reading of the movement. The tranquil conclusion, despite its near immobility, provides an effective lull before the boisterous intrusion of the finale’s theme. But Gilman balances percussive aspects with Heifetz’s penetrating clarity in the upper registers during the finale’s lyrical interludes, and fashions a climax of cinematic sweep.Gilman’s reading sounds at the same time a bit warmer and perhaps a bit cheekier, and even a bit more seductive. The program concludes with a rather lugubrious reading of the theme from John Williams’s score to Schindler’s List. Warmly recommended."

Robert Maxham - Fanfare - July 2012


"...there is some really fine music-making here.There are at least three benchmark recordings for the Barber—Stern/Bernstein (Sony), Salerno-Sonnenberg/Shostakovich (EMI), and Oliveira/Slatkin (EMI)—and this new one stands up well against them. I was not spending much time thinking about the others as I listened to Mr Gilman spin out his lovely, expressive tone, especially in II. The Cape Town players dig in with the soloist and produce a warm, full, beautiful tone. The Korngold ... is a moving, resplendent performance, with the right balance of lyricism and introspection in I and II and plenty of virtuosity in III..."

Lawrence Hansen - American Record Guide - July/August 2012




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