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Track Listings
| 1. Piano Concerto No. 4, H. 358, Incantation - Giorgio Koukl/Bohuslav Martinu Philharmonic Orchestra |
| 2. Piano Concerto No. 1 in D major, H. 349 - Giorgio Koukl/Bohuslav Martinu Philharmonic Orchestra, Zlin |
| 3. Piano Concerto No. 2, H. 237 - Giorgio Koukl/Bohuslav Martinu Philharmonic Orchestra, Zlin |
Product Description
Review
Koukl and Fagen complete their survey of Martinu's piano concertos in fine style. --Gramophone,Jan'11
Koukl gives energetic and authoritative performances of each of the concertos.Arthur Fagin and his orchestra accompany with a fine sense of ensemble. Performance **** Recording *** --BBC Music Magazine,Jan'11
Koukl gives energetic and authoritative performances of each of the concertos.Arthur Fagin and his orchestra accompany with a fine sense of ensemble. Performance **** Recording *** --BBC Music Magazine,Jan'11
Product Description
Giorgio Koukl, piano - Orchestre Philharmonique Bohuslav Martinu - Arthur Fagen, direction
Customer Reviews
Most Helpful Customer Reviews
4 of 4 people found the following review helpful
By Mr. A. R. Boyes
TOP 500 REVIEWER
Format:Audio CD|Amazon Verified Purchase
I've listened to a fair amount of Martinu's music and enjoyed much of it. I wasn't familiar with most of the piano concertos so was tempted into purchasing the Naxos series. The first volume with the Third and Fifth concertos was quite impressive - particularly the fifth. The piano part was very clear and though the Martinu orchestra was less than refined it didn't diminish the piece.
I happily snapped up this volume. Having been unfamiliar with it I found the Fourth Concerto to be a revelation. The two movements sound improvisatory with a very flexible dreamlike lyricism not unlike the sixth symphony. Even so, I've never heard another concerto quite like it. Place that next to his other master concerto, his Double Concerto and the contrast couldn't be greater - two completely different pieces written by the same man and both obvious masterpieces. The fourth anticipates the sound world of Lutoslawski whilst retaining tonality - though it still sounds more radical than the later works of Lutoslawski himself.
So why only four stars? Giorgio Koukl is a Martinu specialist but his style is quite reserved and classical, not in keeping with the nature of this piece. He fairs much better in the spiky neo baroque music of the first concerto and the slightly more expansive second.
There are other reasons too; the first concerto seems to go on for too long - its finale sounds like it is chattering away to itself endlessly and your interest drifts - that's the composer's fault though. The second fairs a little better but though the Orchestra may take the composer's name they're hardly the last word in producing the definitive Martinu sound. They are a pretty average ensemble compared, say, to the Czech Philharmonic, and not helped by a very unsympathetic sound recording. It is a great shame that they really seem to struggle in the subtleties of the Fourth concerto. Yet, even then you can tell that this is great music. There must be better recordings to be had elsewhere though.
This may be cheap but my advice is shop around for the Fourth Concerto, think how great it could sound in the right hands. Even so, this recording is still decent for the price and if alternative recordings of the Fourth are hard to come by then I can still warmly recommend this.
I happily snapped up this volume. Having been unfamiliar with it I found the Fourth Concerto to be a revelation. The two movements sound improvisatory with a very flexible dreamlike lyricism not unlike the sixth symphony. Even so, I've never heard another concerto quite like it. Place that next to his other master concerto, his Double Concerto and the contrast couldn't be greater - two completely different pieces written by the same man and both obvious masterpieces. The fourth anticipates the sound world of Lutoslawski whilst retaining tonality - though it still sounds more radical than the later works of Lutoslawski himself.
So why only four stars? Giorgio Koukl is a Martinu specialist but his style is quite reserved and classical, not in keeping with the nature of this piece. He fairs much better in the spiky neo baroque music of the first concerto and the slightly more expansive second.
There are other reasons too; the first concerto seems to go on for too long - its finale sounds like it is chattering away to itself endlessly and your interest drifts - that's the composer's fault though. The second fairs a little better but though the Orchestra may take the composer's name they're hardly the last word in producing the definitive Martinu sound. They are a pretty average ensemble compared, say, to the Czech Philharmonic, and not helped by a very unsympathetic sound recording. It is a great shame that they really seem to struggle in the subtleties of the Fourth concerto. Yet, even then you can tell that this is great music. There must be better recordings to be had elsewhere though.
This may be cheap but my advice is shop around for the Fourth Concerto, think how great it could sound in the right hands. Even so, this recording is still decent for the price and if alternative recordings of the Fourth are hard to come by then I can still warmly recommend this.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
5.0 out of 5 stars
2 reviews
5 of 5 people found the following review helpful
5.0 out of 5 stars
Splendid Piano Concertos by Martinu
7 Mar 2011
By W. Chiles
- Published on Amazon.com
Format:Audio CD|Amazon Verified Purchase
I've often likened the music of Martinu to the sound of Dvorak played underwater. One critic said it sounded like a chinese night club under water. Not that I dislike it, on the contrary, it reflects his native Czech heritage and a style firmly in sync with the 20th century. I've heard and enjoyed all his symphonies and the Frescos of Piero della Francesca, but the piano concertos are quite a revelation. I checked out the Naxos recordings on the advice of a musician friend who regrets they are not more popular with concert audiences, thus difficult to program.
These recordings are by an orchestra that could use a few more string players to beef up its sound, but the musicians are very committed and the performances well recorded in a spacious acoustic, but full of instrumental detail. Highly recommended for those in search of some fresh and exciting repertoire. These pieces have a decidedly romantic character with some spicy 20th century harmonies and ample opportunities for the soloist to express his virtuosity.
These recordings are by an orchestra that could use a few more string players to beef up its sound, but the musicians are very committed and the performances well recorded in a spacious acoustic, but full of instrumental detail. Highly recommended for those in search of some fresh and exciting repertoire. These pieces have a decidedly romantic character with some spicy 20th century harmonies and ample opportunities for the soloist to express his virtuosity.
5 of 5 people found the following review helpful
5.0 out of 5 stars
Fabulous Performances
13 Jan 2011
By D. A Wend
- Published on Amazon.com
Format:Audio CD|Amazon Verified Purchase
Bonhuslav Martinu's Fourth Piano Concerto (Incantations) is his most innovative. It was completed in 1956 and was premiered that year in New York with pianist Rudolf Firkusny and Leopold Stokowski conducting the Symphony of the Air. The concerto is in two movements and opens with a tense melody played by the orchestra. The piano enters with a shimmering melody but the tense theme remains, broken by a melody by a solo oboe before the opening melody returns. The second movement is a dialogue between piano and orchestra; they pass melodies back and forth, colorfully elaborating them.
The First Piano Concerto comes from 1925, and compared with the terse Fourth, this concerto is like a pastoral. The music echoes good humor ala Francis Poulenc and Sergei Prokofiev. The music is tuneful and charming, written in a neo-baroque style. The first movement centers on a joyous melody passed between piano and orchestra while the second movement has a reflective and peaceful melody at its core. The music slowly develops to a shattering Lisztian cadenza before returning to the calm of the opening bars. The finale returns to the playful mood of the opening movement with a brief review of the middle movement melody and ends with the soloist performing some brilliant passage work with the orchestra jubilantly restating the main melody
The Second Piano Concerto comes from 1934 when Martinu was living in Paris. This concerto is more serious that the bubbly first but there still remains lightness to the music. The first movement reflects Prokofiev and Aaron Copland`s influence, even occasionally taking on a romantic feel. The middle movement is peaceful and flowing, developing slowly to a dramatic cadenza. The finale starts of with a long passage played by the soloist with the orchestra abruptly taking over. A dialogue begins between orchestra and pianist that grows ever more animated.
Martinu's piano concerti deserve a wider audience. They are very approachable works brimming with beautiful music. The performances recorded here by the Bohuslav Martinu Philharmonic Orchestra under Arthur Fagen are superb. Giorgio Koukl is a fabulous interpreter of Martinu's music and turns in remarkable performances.
The First Piano Concerto comes from 1925, and compared with the terse Fourth, this concerto is like a pastoral. The music echoes good humor ala Francis Poulenc and Sergei Prokofiev. The music is tuneful and charming, written in a neo-baroque style. The first movement centers on a joyous melody passed between piano and orchestra while the second movement has a reflective and peaceful melody at its core. The music slowly develops to a shattering Lisztian cadenza before returning to the calm of the opening bars. The finale returns to the playful mood of the opening movement with a brief review of the middle movement melody and ends with the soloist performing some brilliant passage work with the orchestra jubilantly restating the main melody
The Second Piano Concerto comes from 1934 when Martinu was living in Paris. This concerto is more serious that the bubbly first but there still remains lightness to the music. The first movement reflects Prokofiev and Aaron Copland`s influence, even occasionally taking on a romantic feel. The middle movement is peaceful and flowing, developing slowly to a dramatic cadenza. The finale starts of with a long passage played by the soloist with the orchestra abruptly taking over. A dialogue begins between orchestra and pianist that grows ever more animated.
Martinu's piano concerti deserve a wider audience. They are very approachable works brimming with beautiful music. The performances recorded here by the Bohuslav Martinu Philharmonic Orchestra under Arthur Fagen are superb. Giorgio Koukl is a fabulous interpreter of Martinu's music and turns in remarkable performances.
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