Recordings of Felix Mendelssohn's Violin Concerto in E minor, Op. 64, are abundant, and even the pairing with the rarer Robert Schumann Violin Concerto, WoO 23, of 1853 are not as infrequent as they used to be. The thorny Schumann concerto has undergone a reevaluation upward, and plenty of players now concur with the judgment of Yehudi Menuhin: "This concerto is the historically missing link of the violin literature; it is the bridge between the Beethoven and the Brahms concertos, though leaning more towards Brahms." Violinist Carolin Widmann who (like the ECM label on which the album appears) has focused mostly on contemporary music, takes up the challenge of providing something new here, and she meets it. The central fact of the recording is that Widmann conducts the Chamber Orchestra of Europe from the violin. Others have done this before, but few have pursued the implications of the technique as far as Widmann has: the performances are unusually light and transparent, and they are perhaps thus in accord with the sounds an orchestra of the middle 19th century might have produced. Sample the unusually lively, sprightly reading of the Mendelssohn concerto's finale.
Hermann Goetz's lifespan was no longer than Mozart's, and though much admired by contemporaries, as a tragic genius his music became almost forgotten, and the domain of but a few connoisseurs such as Gustav Mahler. Goetz's style remained closer to schumann and Mendelssohn, preferring lyricism and clarity to the more radical approaches of Liszt and Wagner. The virtuoso First Piano Concerto was a student work, its lovely central adagio sharing a use of colorful wind parts with the freshly optimistic Second Piano Concerto composed six years later.
Composer portrait of Jörg Widmann (b 1973 in Munich) with two major orchestral works bridged by Fünf Bruchstücke for clarinet and piano. The Messe was composed in 2006, Elegie in 2005 while the Bruchstücke are amongst Widmann’s earliest published pieces, composed in 1997. On the Bruchstücke he is joined by another great composer/performer, Heinz Holliger, heard here in a recording debut as pianist. Widmann’s astonishingly agile clarinet dominates the Elegie with a range of expression embracing trills, multiphonics and microtones. Christoph Poppen directs the Deutsche Radio Philharmonie with customary élan.
La programmation concurrente permet l'exécution de programmes en parallèle. À l'heure où les processeurs multicoeurs sont devenus un standard, elle est désormais incontournable, et concerne tous les développeurs Java. …
Carolin Widmann’s widely acclaimed ECM recordings have traversed a broad arc of music – from Schubert to Xenakis. Here she turns her attention to one of the pivotal compositions of Morton Feldman. Violin And Orchestra, composed in 1979, marked a new direction, with an almost painterly attention to detail in slowly unfolding music. It is not a concerto in the strict sense of the term, not soloist with orchestral support. The violinist must move inside the glowing colour-field of sound. In this landmark Feldman recording, Widmann does so with great delicacy and feeling, exploring the subtle orchestral texture, crafted together with conductor Emilio Pomarico and the players of the Frankfurt Radio Symphony Orchestra.