专辑简介

Arne Nordheim专辑介绍：Nordheim: Complete Violin Music / Herresthal, Aadland, Et Al Release Date: 10/23/2001 Label: Bis Catalog #: 1212 Spars Code: DDD Composer: Arne Nordheim Performer: Peter Herresthal, Oystein Sonstad, Mats Claesson Conductor: Eivind Aadland Orchestra/Ensemble: Stavanger Symphony Orchestra Number of Discs: 1 Recorded in: Stereo Length: 1 Hours 2 Mins. Works on This Recording 1. Concerto for Violin by Arne Nordheim Performer: Peter Herresthal (Violin) Conductor: Eivind Aadland Orchestra/Ensemble: Stavanger Symphony Orchestra Period: 20th Century Written: 1996; Norway Notes: Cadenza: Peter Herrestal 2. Duplex by Arne Nordheim Performer: Oystein Sonstad (Cello), Peter Herresthal (Violin) Period: 20th Century Written: Norway Notes: Arranged: Arne Nordheim 3. Partita for Paul by Arne Nordheim Performer: Mats Claesson (Electronics), Peter Herresthal (Violin) Period: 20th Century Written: 1985; Norway Notes and Editorial Reviews Arne Nordheim was the pioneer of electronic music in Norway and celebrated his 70th birthday last year. He is decently represented in the catalogue; two of the works on this CD, Duplex for violin and viola (1991) and Partita für Paul (1985) have already been recorded. The Paul of the latter, incidentally, is Klee, five of whose paintings inspire these short pieces. In the last two, the soloist is recorded and plays, as it were, in concert with himself to quite imaginative effect. Duplex is a 1999 revision of an earlier score for violin and cello. The main piece is the Violin Concerto of 1996 written for (and expertly played by) Peter Herresthal, who displays much virtuosity throughout. Nordheim is an eclectic with a sophisticated aural imagination and a lively musical intelligence. But the Concerto itself is more arresting than satisfying: there is some beauty of incident and some striking sonorities but the whole does not constitute the sum of the parts. Other may find more substance to this work than I do, and there is no question as to the quality of the performance or the superb recording, which can safely be recommended to Nordheim's admirers. PERFORMANCE: 5 Stars SOUND: 5 Stars BBC Music Magazine Robert Layton -------- Nordheim is seventy and, as ever on such occasions, this provokes thought as to his musical horizons and compositional direction. His rebellion against Norwegian conservatism in the early post-war years is as well known as his embracing of electronic music, first encountered during a Parisian stay in 1955. Indeed features of inheritance and rebellion have remained with him ever since and this disc is a paradigm of this seeming paradox. Which is not to ascribe to the carefully named Concerto for Violin and Orchestra intimations of the Janus-faced. This is uncompromising and frequently granitic music but it is also music of enormously colouristic skill. Nordheim uses three percussion groups greatly multiplying the potential for increased instrumental sonorities. Felicities of a chamber music intimacy abound and co-exist with brass blocks of sound of glowering ferocity. The one movement thirty-minute span of the work encompasses explosive violence and moments of what one can only call malevolent stasis. Nordheim apparently once described the Concerto as "one long funeral song" and this compound of lament and lyricism is viscerally alive, not least in its almost frantic power, the frequently high lying solo part and the agitated orchestral clusters. The concerto is studded with such moments – listen at 12.14 to the oboe's winding figure and surrounding dense brass and high woodwind, all perfectly balanced. Or at 23.41 listen to the solo violin's intensified line – and Peter Herresthal's correspondingly intensified vibrato usage – and to this affecting passage which is augmented by rich orchestral sonorities. Nordheim frequently has recourse to the syntax of late romanticism whilst putting it to his own highly distinctive use. Such characteristics act centrally in the music – the orchestral with the chamber, the avant-garde with the traditional, the explosive with moments of reflection, a single line augmented, amplified, released; blocks of sound and density with moments of almost crystalline clarity. In Nordheim's case monumentality is modified by reflection. Duplex was originally written in 1991 for violin and viola. In this version for violin and cello the very closely miked performance resounds orchestrally. Thunderous pizzicatos explode; timbral contrasts and those of register abound; dynamic contrasts are fully exploited; this is a vigorous and dynamic work and the composer twice uses the tempo marking Energico to emphasise the point. Sonstad matches Herresthal note for note – and gunshot pizzicato for gunshot pizzicato. The Partita für Paul was written for a Paul Klee exhibition. The five movements are named after five of Klee's paintings. In their fine notes Peter and Harald Herresthal rightly draw attention in passing to the thematic resemblance to Ysaye. This is a fine and memorable piece – with scintillating left-hand pizzicatos, an affecting lyrical line in Schwebendes, imitative pizzicato effects in the harp piece (Nordheim is a rampant pizzicatist in solo string works) and also the use of a tape recorder. This is used with electronic delay to allow a multiple canon and conjures an extraordinary drizzling effect with a droning pedal note. With BIS's usual standards of excellence in matters of presentation and sound this is a highly recommended disc. Jonathan Woolf musicweb-international ---------- Rezensionen A. Cybinski in FonoForum 2 / 02: "Die eklektische, jedoch handwerklich hervorragend gearbeitete Violinmusik des einstigen Avantgardisten verknüpft brillantes Passagen- werk mit weiten Linien in stratosphärischen Höhen. Sie oszilliert zwischen beinahe neoklassizistischer Motorik und romantischer Verklärung."