97794 高大宜: 大提琴奏鳴曲與獨奏曲 馬克.科佩 大提琴 馬坦.波瑞特 鋼琴 Marc Coppey / Kodaly: Chamber Music for Cello (audite)
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| 高大宜: 大提琴奏鳴曲與獨奏曲
馬克.科佩大提琴 巴納巴斯.克萊曼 小提琴 馬坦.波瑞特 鋼琴 ?The common question as to who was the most important Hungarian composer of the twentieth century - Bela Bartok or Zoltan Kodaly - would have been vehemently rejected by the two like-minded friends. On the one hand, they shared many ideas and goals, such as researching Hungarian folk music, which they recorded in the countryside before and after the First World War using a wax cylinder phonograph. Bartok and Kodaly made the original music of the peasant societies, which has nothing to do with the idea of Csardas fire and Puszta romanticism, the basis of their own idioms, which they further developed in very personal ways. On the other hand, the careers of the two composers progressed in entirely different ways. While Bartok embraced international modernism and went into American exile at the height of fascist rule in Hungary, Kodaly remained in his home country even under politically difficult circumstances, devoting himself unswervingly to his great task: integrating music into the school curriculum in order to make it the basis of national consciousness and social behaviour. The works that Kodaly composed in this spirit during the interwar period now form part of the canon of orchestral and choral music - as for instance his Psalmus Hungaricus, the folk opera Hary Janos or the Dances of Galanta. But there is also a lesser-known Kodaly who until 1918, almost unnoticed by the international music world, wrote chamber music whose boldness was met with much hostility in Hungary. At the centre of these works was the cello: the virtuosos emerging from the legendary master class of the cellist David Popper in Budapest introduced Kodaly to the instrument's expressive and stylistic variety. But even for the master cellists of his time, the Sonata Op. 4 with piano, the Duet Op. 7 for violin and cello and, above all, the challenging Solo Sonata Op. 8 were expeditions into new technical and musical territory. Unusual multiple stopping, breakneck runs and abrupt changes of mood, not to mention the narrative power and presence demanded in the monologues and dialogues, create enormous challenges for the performer. The French cellist Marc Coppey, who recently received international acclaim for his recording of Dmitri Shostakovich's cello concertos for audite, has invited two masters of their craft for this new recording of Kodaly's ground-breaking pieces: the Hungarian violinist Barnabas Kelemen, who after winning numerous prizes became a professor at the Franz Liszt Academy in Budapest at the age of twenty-seven, and the Israeli pianist and composer Matan Porat, a pupil ?of Murray Perahia and Maria Joao Pires at the New York Juilliard School, who today is an internationally renowned and sought-after chamber music partner and film composer. ZOLTAN KODALY (1882-1967) Sonate fur Violoncello solo op. 8 31:06 1 I. Allegro maestoso ma appassionato 8:31 2 II. Adagio 10:45 3 III. Allegro molto vivace 11:50 Sonate fur Violoncello & Klavier op. 4 17:59 4 I. Fantasia 8:17 5 II. Allegro con spirito 9:42 Sonatina fur Violoncello & Klavier 8:37 6 Lento – Tempo principale Duo fur Violine & Violoncello op. 7 23:21 7 I. Allegro serioso, non troppo 7:46 8 II. Adagio – Andante 7:37 9 III. Maestoso e largamente, ma non troppo lento –Presto 7:58 TT:81:03 Marc Coppey Violoncello Barnabas Kelemen Violine Matan Porat Piano |
