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Entartete Musik - Goldschmidt: The Concertos

Release Date: 11/11/1997 
Label:  Decca   Catalog #: 455586   Spars Code: DDD 
Composer:  Berthold Goldschmidt
Performer:  Yo-Yo MaSabine MeyerChantal Juillet
Conductor:  Charles DutoitYakov KreizbergBerthold Goldschmidt
Orchestra/Ensemble:  Montreal Symphony OrchestraBerlin Comic Opera OrchestraPhilharmonia Orchestra
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 7 Mins. 

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This CD is reissued by ArkivMusic.

Notes and Editorial Reviews

The danger of writing in a relatively conservative language, apart from dismissal as irrelevantly old-fashioned, is that people will not only recognize your models but will realize how far short of them you fall. In this light the oblivion into which these three concertos fell after their premieres in the 1950s is puzzling. Their style, even by the standards of 40-odd years ago, is not ‘advanced’, but they make highly original use of traditional forms. The first movement of the Cello Concerto, for example, has half a dozen themes instead of the expected two, but the ideas are subtly related so that the overall impression is of a richly fertile but disciplined invention: there is not the slightest hint of garrulity, nor any sense that the Read more music is derived from Hindemith, whom at a few moments it superficially resembles. In the corresponding movement of the Clarinet Concerto each idea grows out of its predecessor, all of them flowering from a gently lyrical opening which repeatedly returns, sounding beautifully different at each recurrence.

It is partly this shrewd and practiced but quite unobtrusive craftsmanship that gives these pieces their unmistakably personal flavour, their ability to encompass a wide range of mood and texture within a short movement. The finale of the Clarinet Concerto lasts a few seconds over five minutes and includes nimbly pattering scherzo material, gracious lyricism, athletic energy and jovial exuberance, but they are unified, not merely juxtaposed. Still more important is Goldschmidt’s melodic gift, and it is not only in slow movements that his plangently expressive, long-breathed, sometimes shadowed or mournful lyrical lines are at their most striking. His lyricism is firm and strong, and a fast movement does not have to relax to incorporate it. The slow movement of the Violin Concerto is marked Andante amoroso, but its beauty is grave and ample, not languishing. All three of these concertos, in fact, are strong and rich enough to repay repeated listening, and what renewed acquaintance proves is that each of them, without any feeling of hurry or excessive concentration, is far bigger than their durations might imply.

The Violin Concerto was recorded in December 1994, after a series of performances by Chantal Juillet that so impressed Goldschmidt that he dedicated the neglected 40-year-old work to the soloist who had given it new life. Although he did not live to see the release of that recording he had the satisfaction of knowing that it was being delayed until it could be coupled with his other two concertos, both played by soloists who could hardly be bettered. Juillet’s reading of ‘her’ concerto is indeed a splendid one, but the others here are no less fine, and all three are admirably recorded.

-- MEO, Gramophone [1/1998]
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Works on This Recording

Concerto for Cello by Berthold Goldschmidt
Performer:  Yo-Yo Ma (Cello)
Conductor:  Charles Dutoit
Orchestra/Ensemble:  Montreal Symphony Orchestra
Period: 20th Century 
Written: 1953; England 
Date of Recording: 02/1996 
Venue:  Live  Place des Arts, Montreal, Canada 
Concerto for Clarinet by Berthold Goldschmidt
Performer:  Sabine Meyer (Clarinet)
Conductor:  Yakov Kreizberg
Orchestra/Ensemble:  Berlin Comic Opera Orchestra
Period: 20th Century 
Written: 1954; England 
Date of Recording: 01/1997 
Venue:  Jesus-Christus Kirche, Berlin, Germany 
Concerto for Violin by Berthold Goldschmidt
Performer:  Chantal Juillet (Violin)
Conductor:  Berthold Goldschmidt
Orchestra/Ensemble:  Philharmonia Orchestra
Period: 20th Century 
Written: 1933/1955; England 
Date of Recording: 12/1994 
Venue:  Henry Wood Hall, London, England 

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