专辑简介：
艺术家：Nareh Arghamanyan, Piano - Rundfunk-Sinfonieorchester Berlin, conducted by Alain Altinoglu
Liszt: Piano Concertos Nos. 1 & 2, Fantasy on Hungarian Folk Tunes, Totentanz
Nareh Arghamanyan
Rundfunk-Sinfonieorchester Berlin
Alain Altinoglu
...Of special note in the First Concerto is Arghamanyan's playing of the second movement Quasi adagio at times so affectionate and intimate. Suddenly altering character the music becomes stormy and forthright with Arghamanyan shifting swiftly to a joyous and up-lifting mood. The sound of the infamous triangle in the Allegretto vivace was barely audible. This is light-hearted music that seems to canter along without a care in the world with Arghamanyan confidently negotiating the hazards along the way. With occasional bouts of seriousness in the buoyant and jaunty writing of the final movement there is spirited and assured playing. I loved the barnstorming Presto conclusion... ... With Arghamanyan and Altinoglu I especially enjoyed the restless feel and quick tempo of the opening movement. It generates a real sense of drama. The opening of the Allegro agitato assai feels ominous building to a compelling climax before moving to a relaxing world of ease and comfort. I loved the windswept quality of the Allegro deciso with its keen forward momentum and muscularity. Most remarkable are the contrasting moods in the Finale marked Marziale, un poco meno allegro. The bravura conclusion is dramatic... It seems that Liszt was inspired to write his Totentanz (Dance of death or Dance macabre) Paraphrase on the Dies irae for piano and orchestra, S.126 by the magnificent frescoes titled The Triumph of Death on the wall of the basilica in the Campo Santo at Pisa. The Totentanz comprises a series of variations that embodies the plainchant of the Dies Irae. It was first sketched out by Liszt around 1839 and completed by 1849 undergoing subsequent revision. Here the soloist shows fine musicianship giving a most persuasive account that conveys a wide range of colour and dynamic. The conclusion is both exhilarating and highly dramatic. With regard to alternative recordings I admire the stirring and confident performance from Krystian Zimerman mentioned above. Liszt's Fantasy on Hungarian Folk Tunes for piano and orchestra, S.123 (Hungarian Fantasy) composed in 1852/53 has a similar style with comparable energetic rhythms to his renowned Hungarian Rhapsodies. It's a score that I experience as frequently coarse, overblown and sometimes brash but always absorbing and often thrilling. Arghamanyan is a most persuasive soloist. Of the finest accounts of the Hungarian Fantasy I'm happy to stay with Arghamanyan on Pentatone. As an alternative there is the vibrant 1981 Philadelphia account from soloist Cyprien Katsaris and the Philadelphia Orchestra under Eugene Ormandy on PIANO 21 P21 022-A. The orchestra play convincingly throughout this disc demonstrating keen concentration and splendid musicianship. The orchestral colours are broad in range and spectacularly vivid. (Michael Cookson - MusicWeb International)
曲目列表：
1. Piano Concerto No. 1 in E flat major, S. 124 (LW H4)
2. Piano Concerto No. 2 in A major, S. 125 (LW H6)
3. Totentanz, for piano & orchestra, S. 126 (LW H8)
4. Fantasy sur l'opéra hongroise Szép Ilonka, for piano (after Mosonyi), S. 417 (LW A232) 试听：
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发表于 2020-3-7 20:10:01
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