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Nemanja Radulovic - Les trilles du diable


Жанр: Classical
Год издания: 2009
Аудиокодек: MP3 (конвертировано из lossless)
Тип рипа: tracks
Битрейт аудио: 320 kbps
Продолжительность: 76:14
Наличие сканов в содержимом раздачи: нет

Треклист:
01. Pugnani-Kreisler: Praeludium & Allegro (5:51)
02. Wieniawski: Legende en sol mineur, Op.17 (6:49)
03. Vitali: Chaconne en sol mineur (9:20)
04. Schubert: Rondo en la majeur, D.438 (14:09)
Tchaikovsky: Souvenir d'un lieu cher, Op.42
05. 1. Melodie (re bemol majeur) (3:10)
06. 2. Scherzo (ut mineur) (3:57)
07. 3. Meditation (re mineur) (8:33)
08. Tartini: Sonate en sol mineur, "Le trille du diable", Op.1, No.4 (13:15)
09. Sarasate: Romanza andaluza (Spanische Tanze), Op.22 (5:03)
10. Kreisler: Liebesleid (3:34)
11. Kreisler: Schon Rosmarin (2:33)

Исполнители:
Nemanja Radulovic, Guillaume Fontanarosa, Frederic Dessus - violins
Bertrand Causse - viola
Anne Biragnet - cello
Stanislas Kuchinski - double bass

Serbian-born violinist Nemanja Radulovic has the look of a Romantic-era virtuoso violinist, and the booklet for this live recital release goes so far as to suggest that he resembles Paganini. Be that as it may, he apparently has a good deal of personal charisma if one is to judge by the applause that greets the final selections (other audience sounds are edited out). The charisma doesn't all come through on a recording, but what's here is sufficient to mark Radulovic as one to watch. Devil's Trills is not, as might easily be supposed, the name of the album but instead refers to Radulovic's small accompanying group of strings; the program does include Tartini's The Devil's Trill, but there's nothing diabolical about Fritz Kreisler's Schön Rosmarin or the other recital standards on the program. That program is a bit broader than others of its kind, with Schubert's Rondo in A major, D. 438, serving as a kind of moment of formal repose among sets of flashier pieces, and Radulovic controls it well. He's certainly technically adept in the showpieces, and he has a warm tone without using a great deal of expression; the four Tchaikovsky pieces included don't suit him particularly well. Kreisler's Praeludium and Allegro have likewise been given more oomph, but it is Kreisler whom Radulovic follows most closely among the great violinists, and the concluding Liebesleid (without its usual Liebesfreud partner) and Schön Rosmarin together show a young performer with an appealing kind of confidence that might well next be applied to ratcheting up the sentiment level where appropriate. The sound engineering from this 2007 recital in Reims and its realization by the Art Act label are unfussy.