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bolcom, william (1938-)  -  Music for violin & piano / constantine finehouse, philip ficsor

 
19.99 € - 20%
15.99 €
  • Format : CD x 2

  • Etat général : original neuf
  • Etat pochette : S (?)
  • Etat disque : S (?)

  • Label : Albany 959
  • Pressage : UPC/EAN: 034061095927 - USA
  • Année : 2007
  • Commentaire : Bolcom: Works For Violin And Piano / American Double Release Date: 09/18/2007 ... Voir plus bas

  • Quantité disponible : 1
 
Commentaire du vendeur :
Bolcom: Works For Violin And Piano / American Double

Release Date: 09/18/2007
Label: Albany Records Catalog #: 959 Spars Code: DDD
Composer: William Bolcom
Performer: Constantine Finehouse, Philip Ficsor
Orchestra/Ensemble: American Double
Number of Discs: 2
Recorded in: Stereo
Length: 2 Hours 11 Mins.
EAN: 0034061095927


Works on This Recording

1. Sonata for Violin and Piano no 2 by William Bolcom
Performer: Constantine Finehouse (Piano), Philip Ficsor (Violin)
Orchestra/Ensemble: American Double
Period: 20th Century
Written: 1978; USA
2. Sonatina by William Bolcom
Performer: Philip Ficsor (Violin), Constantine Finehouse (Piano)
Orchestra/Ensemble: American Double
Period: 20th Century
Written: 1958; USA
3. Sonata for Violin and Piano no 1 by William Bolcom
Performer: Constantine Finehouse (Piano), Philip Ficsor (Violin)
Orchestra/Ensemble: American Double
Period: 20th Century
Written: 1956/1984; USA
4. Sonata for Violin and Piano no 3 "Sonata Stramba" by William Bolcom
Performer: Constantine Finehouse (Piano), Philip Ficsor (Violin)
Orchestra/Ensemble: American Double
Period: 20th Century
Written: 1992; Ann Arbor, Michigan
5. Duo Fantasy by William Bolcom
Performer: Constantine Finehouse (Piano), Philip Ficsor (Violin)
Orchestra/Ensemble: American Double
Period: 20th Century
Written: 1962; USA
6. Pastorale by William Bolcom
Performer: Constantine Finehouse (Piano), Philip Ficsor (Violin)
Orchestra/Ensemble: American Double
Period: 20th Century
Written: 1962; USA
7. Fancy Tales by William Bolcom
Performer: Constantine Finehouse (Piano), Philip Ficsor (Violin)
Orchestra/Ensemble: American Double
Period: 20th Century
8. Suite for Violin solo by William Bolcom
Performer: Philip Ficsor (Violin)
Period: 20th Century
Written: 1977; USA
9. Ghost Rags (3): The Graceful Ghost Rag by William Bolcom
Performer: Constantine Finehouse (Piano)
Period: 20th Century
Written: 1970; USA
10. Sonata for Violin and Piano no 4 by William Bolcom
Performer: Philip Ficsor (Violin), Constantine Finehouse (Piano)
Orchestra/Ensemble: American Double
Period: 20th Century
Written: 1995; Ann Arbor, Michigan


Notes and Editorial Reviews

BOLCOM Violin Sonatas: No. 1; No. 2; No. 3, “Sonata Stramba”; No. 4. Sonatina. Duo Fantasy. Pastorale. Fancy Tales. Suite for Solo Violin. Ghost Rags: Graceful Ghost Rag • Philip Ficsor (vn); Constantine Finehouse (pn) • ALBANY 959 (2 CDs: 132:40)

Those readers who are not newcomers to Fanfare will know full well how difficult I find it to embrace much that passes for contemporary music. When I can respond as positively, therefore, as I have to all of the works on these CDs, you can know that there is something quite special about them. What is it? I'm not sure exactly. Perhaps it's the sense of hearing something new and different that is nonetheless somehow rooted in the familiar. One does not feel cast adrift in strange seas or alien landscapes. Familiar signposts appear at every turn: a snatch of Beethoven here, a whiff of Mozart there, echoes of Ravel, Bartók, Stravinsky, Charles Ives, and jazz idioms.

Yet, as Philip Ficsor explained in our interview, these are not intentional or even conscious references on Bolcom's part; they are intrinsic to his absorption of the totality of our musical culture and his assimilation by it. Even a work as “jarring and dissonant” as the Sonata for Solo Violin integrates its dissonance in a way that makes it sound necessary, essential, and a vital part of the work, as opposed to simply gratuitous and applied for shock effect. And not even a neo-Luddite, such as me, when it comes to modern music, could possibly fail to appreciate a piece with such clear Romantic roots as the First Sonata. All else falls on a continuum somewhere between these two works; but not one of them is of lesser quality, imagination, inspiration, or interest than another.

Recorded at the Kitchen Recording Studio in Chelmsford, Massachusetts, between June 2005 and December 2006, and released by Albany Records in September 2007, this two-CD set is indispensable to any serious collector with an interest in later 20th-century duo repertoire for violin and piano. It's hard for me to imagine the amount of time, effort, and dedication that went into Ficsor's and Finehouse's collaboration. This is not music that anyone plays at first or even 10th sight. That these two artists can play it at all, let alone play it as astonishingly well as they do is truly remarkable. The fact that they do not call themselves the Ficsor and Finehouse Duo, but simply American Double, speaks volumes of the submerging of egos to the higher goal of advancing the cause of an important American composer to the fore of our cultural consciousness.

Everything about these CDs—the music, the performances, and the recorded sound—warrant the strongest recommendation.

FANFARE: Jerry Dubins

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AllMusic Review by Mike D. Brownell [-]
Bolcom's works for violin and piano could stand alone as an introduction to the composer's total output. Beginning with the Sonatina of 1958 and extending on this album through the Fourth Sonata of 1994, Bolcom has visited and frequently continues to visit this genre. The 10 compositions heard on this two-disc set provide a representation of all of Bolcom's stylistic changes throughout his career.

Of violinist Philip Ficsor and pianist Constantine Finehouse, Bolcom states in the liner notes that he "think[s] they're pretty well prepared...." Not exactly high praise for a living composer to give artists who are attempting to record a complete genre of compositions. Unfortunately, Bolcom's limited enthusiasm is warranted. Despite performing works written over the course of nearly four decades, Ficsor and Finehouse make only limited changes to their stylistic approach. Even this musical oversight might be forgiven if it were not also accompanied by pronounced technical deficits in the violin playing. Ficsor's sound is quite strained; every shift and every run sound extremely difficult. There's little or no sense of freedom and liquidity. Topping it all off is Ficsor's pervasively poor intonation. The result is a two-disc set of magnificent compositions written by one of America's greatest living composers performed so poorly as to make the collection one to pass.

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