Harmonia Mundi: HMC901951Martinu - Violin Concerto No. 2 |
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See Terms & Conditions for p&p rates. | |  0794881868926 HMC901951 | Martinu - Violin Concerto No. 2
Isabelle Faust (violin) & Cedric Tiberghien (piano) The Prague Philharmonia, Jirí Belohlávek Long overshadowed by the reputation of his
Bohemian compatriots Smetana, Dvorák and Janácek,
Bohuslav Martinu is at last enjoying his fair share of
the limelight.The three works presented on this
recording display the Czech composer's endless
creativity within the framework of a vivid concertante
language. Isabelle Faust, Cédric Tiberghien & Jiri
Belohlavek renew the succesful partnerships that brought us superb recordings of Dvorak and Brahms.
Gramophone Magazine gave Isabelle Faust its Young Artist of the Year Award for her first recording of
sonatas by Béla Bartók, in 1997. Since then she has appeared with all the major orchestras.
Cedric Tiberghien's international career took off as he became a BBC New Generation Artist. For harmonia
mundi, he has recorded four recitals, and more recently Brahms' Concerto No. 1 with the BBC Symphony
Orchestra, conducted by Jirí Belohlávek. “Isabelle Faust is a lyrical soloist, and also finds plenty of energy to convey the rhythmic play of the finale. The other concertante work here is for piano, and Cédric Tiberghien is receptive to its neo-Baroque sensibility.
The Prague Philharmonia under Jirí Belohlávek provides idiomatic support, and the strings shine in the one other work here, the short Serenáda No 2 from Martinu's playful Paris years.” The Telegraph, 7th June 2008 “Martinu's Second Violin Concerto is one of his greatest works in the genre. From her very first entry, Isabelle Faust shows a strong feeling for the work's dramatic ebb and flow, and in the supremely beautiful slow movement achieves heights of eloquence. Belohlávek provides magnificently flexible accompaniment and a clear vision of the work's broadly developed structure.” BBC Music Magazine, July 2008 ***** “… this brilliant new account of the Second Concerto (1943), played with verve and a real feeling for the idiom by Isabelle Faust. … her sweet, precise tones allows Martinu's angular lyricism… open out for maximum appeal.” Gramophone Magazine, August 2008 | 
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