MAXIM VENGEROV The israel Philharmonic Orchestra ZUBIN MEHTA
MAXIM VENGEROV 是當今我最愛的小提琴家之一, 在這跟大家分享以下有關他其中一CD的資料. (我本人覺得蠻有趣的)9 M8 v0 }8 h" i# K) t
以下有關VENGEROV跟CD制作摘要轉自VENGEROV的CD "The israel Philharmonic Orchestra ZUBIN MEHTA"7 T) V6 i1 b2 i( L" b
抱歉, 都是英文...2 Z, G& I: o0 N1 \5 a+ m
( P( v; W' g; NAlbum: MAXIM VENGEROV The isreal Philharmonic Orchestra AUBIN MEHTA
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6 o4 B1 g8 k4 @2 uArtists: MAXIN VENGEROV - violinist
n: P; r& y2 Q/ h: n1 ?% E' Z$ y0 AThe Israel Philharmonic Orchestra ' U4 p- D, z# y, f8 d$ S
ZUBIN MEHTA
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Production: Fredric R. Mann Auditorium, Tel Aviv. November 1991
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Tracks:
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Violin Concerto No. 1 in D major, op. 6
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1. Allegro maestoso (Cadenza: Emile Sauret) 20'17"
8 H0 K* K. f [- V8 _2. Adagio espressivo 4'44"5 a, c& \# `! a5 z2 |
3. Rondo: Allegro spirituoso 9'35"
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CAMILLE SAINT-SAENS (1835-1921)
+ P5 c8 @3 d& ~. F7 w2 Y4. Introduction et Rondo capriccioso, op. 28 8'43"+ d; Z! t# ^7 V# j# U' A0 y
5 Havanaise, op. 83 9'30"
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FRANZ WAXMAN (1906-1967)) T, b9 D" p' e O( t2 u
6. Carmen Fantasie 9'57"
/ Z2 F! T! b6 W3 rOn themes from the opera by Bizet
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About The artist:
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Maxim Vengerov is a phenomenon - and as such, he is perhaps best compared with our latter-day image of Mozart: A genius and a man in his most natural and most honest form. In this young artist filled with an innate maturity, music and life join to create an inner harmony.' d: M! U4 L; i9 B, Y2 ]
8 }2 v% p9 _) h6 X- L6 w" O kI can still remember my first meeting with this exceptionally talented young man as if it were only yesterday - and I hadn't even heard Maxim lay once at that time. The occasion was the Carl Flesch Violin Competition in 1990: Maxim was standing in front of the Barber Surgeons' Hall in the City of London, where the preliminary rounds were held. Unlike the throng of fellow competitors from Russia who surrounded him - timid and somewhat anxious - Maxim had a mischievous look in his dark eyes. His refreshing, youthful flair, with a hint of the devil-may-care about him, seemed more suggestive of some student prank than of the commitment to achieve musical perfection. Yet this impression was in no way consistent with the aesthetics of his Mozart playing, and his passionate reading of the Tchaikovsky concerto in the two final rounds of the competition.% _3 j7 f0 [ E P9 {# s. L
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In November 1991 I was to meet Maxim Vengerov again, this time in Tel Aviv. A year before this, he had parted company with his teacher Zakhar Bron, emigrating to Israel with his parents. I couldn't help wondering what would have happened in the interim to this brilliant young musician, whose art and personality had always been in my mind since his undisputed triumph in the Carl Flesch Competition...
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: m2 b1 W7 N) G/ SOne autumn day in Israel, when the weather is still hot but dusk falls early, Maxim Vengerov was to make his first concerto recording in the West. He had been on excellent terms with the Israel Philharmonic Orchestra and its chief conductor Zubin Mehta for some time: + ]/ `, Q1 w0 M: d
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the basis of their collaboration had emerged from an extensive tour of America together. Maxim stood before these experienced professionals as primus inter pares, and they accepted him as such. Whether in the concert-hall or, even more so, in recording sessions his concentration never slackened. What made me catch my breath was not the virtuosity of his control of the instrument - at once delicate yet incredibly confident -, nor the amazing ease with which he played the trickiest nuances, but rather his unshakeable determination to live up to his own absolute standard. Even the experienced Zubin Mehta, himself scarcely any less obsessive than Vengerov, had a hard time of it on occassions, as is evident from his jocular outburst "these Russians, they want every note to be perfect!" but Vengerov could not afford to get bogged down in detail. The timetable had to be kept to, and too many repeats might have resulted in the 'Knesset principle' in the orchestra - hard to manage at the best of times - getting completely out of control. A healthy discussion of a hundre different approaches to a work certainly has its attractions; but it also has a detrimental effect on Zubin Mehta's vocal chords, and most people would agree that an instrumental discussion tends to be more productive than a verbal one.4 G) b* y% e \. j
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The sudden and mysterious death of the newspaper tycoon Robert Maxwell filled the news outside on the palmstrewn boulevards; but here in the orchestra it was other problems that dominated the day: The second subscription concert featured Paganini's Violin concerto no. 1 plus - alternatively - either Brahms' Fourth Symphony or eight Slavonic Dances by Dvorak. Custom dictates that a full house must be satisfied on six consecutive days - the first three times in Haifa, then in Tel Aviv. In Israel, music has a very special status, for it provides a much sought after and essential substitute for many luxuries that people cannot afford. The audience expects a top performance every evening. They are not interested - in fact, they are not even aware that, after an electrifying concert in Haifa, the orchestra, soloist and conductor have to give their best again at ten o'clock the next morning in front of the microphones in far-off Tel Aviv. Nor, for that matter, does the audience know that it is to this ingenious recording plan that they owe the unannounced encores that elicited frenzied applause. In spite of the perfect planning on one evening was there an unforeseen hitch. A tailcoat had been flown in from the States, and it had to be 'christened', althrough Maxim had never played in such a curious item of clothing before. He didn't feel at all comfortable in it, as one could see from his face. The tailcoat gave a fair account of itself, but failed to meet with approval: it has been returned to the wardrobe, where it will stay until Maxim finds time to wear it in.
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At Maxim's insistence, the words were recorded in a most unconventional order: Saint-Saens's Havanaise and Introduction et Rondo capriccioso, then the Carmen Fantasie by Franz Waxman, saving the central work of the evening, Paganini's Violin Concerto No. 1, until after its sixth public performance. The passionate contrasts in the music of Saint-Saens proved to be an ideal leadin for Maxim.
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2 }1 u8 ]* C) t; k" s" \- |Zubin Mehta had both works run through several times without a break, first of all, while the recording technology did what was required of it. The day-room with its pretty ornamental aquarium (and its noisy oxygen supply!) had been converted into a superb recording studio, and it was here that the material was then listened to in detail. The few discrepancies showed up "loud and clear", necessitating a number of repeats. In the process, the recording technicians displayed brilliant teamwork - individual takes were played back in a matter of seconds; and the very personal relationship and mutual trust between Maxim Vengerov and his sensitive producer Friedemann Engelbrecht was very much in evidence. But Maxim was still not satisfied with his performance by a long chalk. He knew that he coudl improve this intonation or play that slur better, that he could render this colour or that emotion even more beautifully, with even greater concentration. He thought these passages through again time after time in the night, and the next morning he did indeed play them even more perfectly.$ c2 ?2 [1 V$ b( }; z) M% P
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The devilishly difficult Carmen Fantasie was tailor-made for Jascha Heifetz by the German-born composer Franz Waxman, who emigrated to the USA, and it is to Heifetz that Waxman dedicated the piece. In this work, Maxim's highly sensitive inner ear is focused solely on the drama of the music. The young violinist loves Bizet's opera, and is keen to capture its atmosphere: the listener should not be aware of the technique involved. The Paganini concerto, one of the most subtle 'firework' displays in the violin repertoire, went more easily than expected - even though in the first session the orchestra ignored everything that had been agreed to the contrary, and insisted on the rehearsing the "Jupiter" Symphony that was on that evening's programme. The musicians promised to do overtime if necessary but this triggered off a brief moment of unaccustomed nervousness on Maxim's part. He suddenly found that he couldn't get a perfectly harmless passage right, and this prompted the whole strings section to hold another Knesset-style discussion, offering Maxim countless tips. For the cadenza, Maxim joined up the two versions by Emile Sauret; the orchestra was not needed for recording the cadenza, so that the second and third movements could be 'wrapped up' without overtime in the last session. Everyone was able to relax again, and there was many a happy embrace in the studio.
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Hans-Theodor Wohlfahrt
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! n9 `: b" q/ ]' R6 ?# O' ~[ 本帖最后由 shion 于 2007-7-20 20:59 编辑 ]
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