Naslov
CD MUSIC FOR VIOLA

Autori
KOSSJANENKO, WLADIMIR ; PODRUG, VESNA ;

Izvornik
Extraplatte

Vrsta, podvrsta
Ostale vrste radova, audio/video zapis

Godina
1998

Ključne riječi
CD Music for Viola

Sažetak
CD Music for Viola Extraplatte Ex 415-2 Wladimir Kossjanenko, Viola ; Vesna Podrug, Piano J. S. Bach: Chaconne from the Partita in D minor BWV 1004 P. Hindemith: Sonata op.11, nr. 4 N. Paganini/M. Kugel: Cantabile G. Bizet-F. Waxmann/M. Kugel: Carmen Fantasy C. Debussy-W. Borissowsky: “La fille aux cheveux du lin” C. Debussy-J. Strahow: “La plus que lente” D. Shostakovich-J. Strahow: Preludes op.34, nr. 18, 15, 24

Izvorni jezik
Ger

Znanstvena područja
Glazbena umjetnost

Napomena
THE STRAD - LONDON, December 2002

Reviews CD’s

Music for Viola

Bach Chaconne Hindemith Sonata op.11 no.4 Paganini
(trans. Kugel) Cantabile
Bizet-Waxman (trans. Kugel) Carmen Fantasy Debussy
(trans. Borisovsky) La fille aux cheveux du lin
Debussy (trans. Strakhov) La plus que lente
Shostakovich (trans. Strakhov) Preludes op.34 nos.
18, 15 & 24
Wladimir Kossjanenko (viola)
Vesna Podrug (piano)

EXTRAPLATTE EX 415-2

At the 1997 Tertis competition Wladimir
Kossjanenko ‘set the place alight with his Bach
Chaconne’, as Tully Potter put it in The Strad at
the time. I was there too, and memories of that
mesmerising performance were brought back by this
CD. Kossjanenko (who was kicked out at the first
round then) has developed into the very model of a
modern Russian violist.
While not for Baroque fundamentalists,
Kossjanenko’s Bach is admirably paced in one huge,
monumental arch, with the various episodes nicely
contrasted.
The Hindemith Sonata (the one original viola piece
on this release, the title of which would never
pass the Trades Description Act) comes over as a
more substantial piece than is often the case,
with both players really going for it - Vesna
Podrug (Kossjanenko’s wife) registers as an equal
partner on all levels.
A former student of Michael Kugel,
Kossjanenko includes two of his transcriptions:
Paganini’s Cantabile is quite straight (mostly an
octave lower than the original) and shows off the
player’s considerable bel canto qualities.
Kossjanenko’s rendition of the Carmen
Fantasy may not quite have the devil-may-care
virtuosity of Kugel’s own but as compensation you
can hear every note. The transcriptions by
Strakhov and Borisovsky make full use of the
viola’s timbric and expressive arsenal, and the
chances are greedily seized by Kossjanenko. The
ethereal harmonics which start and end La fille
aux cheveux du lin haunt the listener and, if La
Plus que lente could waltz along more sleazily,
the sardonic mood of Shostakovich’s Preludes is
ideally cought.
I hope Kossjanenko will continue to explore
Borisovsky’s arangements and transcriptions, which
deserve to be much more widely known.

Carlos Maria Solare

POVEZANOST RADA