Chausson: Poeme, Suk: Fantasy, Vaughan Williams: The Lark Ascending, Respighi: Poeme autumnale
费雪，小提琴、克莱兹柏格 指挥 蒙地卡罗爱乐
Julia Fischer, Orchestre Philharmonique de Monte Carlo, Yakov Kreizberg
Performer: Julia Fischer
Orchestra: Monte-Carlo Philharmonic Orchestra
Conductor: Yakov Kreizberg
Composer: Ernest Chausson, Ottorino Respighi, Josef Suk, Ralph Vaughan Williams
Audio CD (May 3, 2011)
SPARS Code: DDD
Number of Discs: 1
Julia Fischer follows her extraordinary Grammy-nominated recording of the fiendish Paganini Caprices with a contrasting album − a lyrical and poetic set of impressionistic works for violin and orchestra.
Comprising four substantial pieces, this unique program is headed by Suk’s virtuosic Fantasy, a mini-concerto that is now justifiably finding its way into the concert repertoire. It is accompanied by two well-known tone poems – the elegant Poème by Chausson and the English pastoral The Lark Ascending by Vaughan Williams. The album is completed by Respighi’s Poema autunnale (of which there is only one other recording in the catalogue), making the program truly multinational.
For this recording, Julia Fischer is joined by her long-term colleague on the podium, Yakov Kreizberg, directing his own orchestra, the Monte-Carlo Philharmonic Orchestra − with whom Julia Fischer has a very close artistic relationship as artist in residence for the 2010/11 season.
Critical acclaim for the Paganini album: She plays “with lyricism, digital brilliance and incredible finesse” (The Observer).
这几年来，乐坛新生代的女性小提琴家辈出，像是同为DECCA旗下的吉妮杨森（Janine Jansen），或是DG的芭蒂雅许维莉（Lisa Batiashvili）等皆有不俗的表现，而费雪在当中拥有著最好的音乐性与敏感度，而她们之间的相互比较，相信除了能让乐迷不断讨论之外，也会激发出更多精彩的作品。（孙家璁，《MUZIK》发行人兼总编辑）
5.0 out of 5 stars Fischer shines in a lovely poetic program May 3, 2011
By Santa Fe Listener HALL OF FAMETOP 500 REVIEWER
This ravishingly romantic program should win Julia Fischer even more fans as she continues her move from the relatively small circulation of her early label, Pentatone, to Decca. The repertoire has been astutely chosen, mixing two chestnuts -- the Chausson Poeme and The Lark Ascending of Vaughan Williams -- with two obscure works by Suk and Respighi. But this isn't 69 min. of swooning background music. After stating its dreamy melody in double-stops, the Respighi Poeme autumnale picks up speed and becomes a showpiece. I wouldn't call it inspired. Violinists are always looking to expand their fairly limited concerto repertoire, and yet there is only one other version of this work in the catalog, according to the product description. that may be because Respighi's idiom hews fairly close to movie music, but there's enough atmosphere to keep the ear engaged, especially when you have a soloist, like the impeccable Ms.Fischer, determined to bring out the best in the score.
Josef Suk was both composer and violinist, and his Fantasy Op. 24 fits the instrument better, falling directly in line with the folk-flavored romanticism exploited by Goldmakr, Joahcim, and Dvorak in their concertos. I've never been able to decide if Suk would be considered a prominent composer if his countryman Dvorak had never lived. the Fantasy is by turns lyrical, robust, and sparkling, but the orchestral accompaniment doesn't reveal themes or development of any great moment. There's enough sweep to keep your attention form wandering; the work is ambitious and fairly long (24 min.), but Suk winds up giving us a string of episodes more than an organically unfolding concerto. I doubt, despite the product description, that it will gain more than a toehold in the concert hall, but it's worth a listen.
The Chausson and Vaughan Williams owe their popularity to a shared mood of soaring lyricism and their focus on the violinist as a rhapsodic singer of melody. Both are inward, with the Chausson perhaps being the more private and voluptuous, the Vaughan Williams more ethereal and chaste. Audiences have cherished them equally, and Fischer joins a line of recorded versions. Her taste and innate musicality save them from being cloying. I'm not a fancier of either work, so I can't give reliable comparisons. Everything seems nicely in place here, and the late Yakov Kreizberg leads his Monte Carlo orchestra well, not that either is asked to do much. Fischer's recording career has moved step by step with Kreizberg, the brother of another Russian emigre conductor, Semyon Bychov, by her side. His death from cancer at the age of 51, which came this March, adds a sad note to this CD, and a special poignancy to The Lark Ascending, which is about the soul as much as anything in the natural world.
Ottorino Respighi (1879–1936)
1. Poema autunnale P.146
for violin and orchestra
Autumnal Poem ‧ Herbstdichtung ‧ Poeme automnal
Calmo – Molto lento – Allegro moderato – Allegro con fuoco –
Allegro con spirito – Tranquillo – Lento
Josef Suk (1874–1935)
2. Fantasy in G minor, op. 24
for violin and orchestra
ERNEST CHAUSSON (1855 –1899)
3. Poeme op. 25
for violin and orchestra
Lento e misterioso – Molto animato – Animato – Poco lento –
Poco meno lento – Allegro – Tempo I – Tranquillo
RALPH VAUGHAN WILLIAMS (1872–1958)
4. The Lark Ascending
Romance for violin and orchestra
Die Lerche steigt auf ‧ L’Envol de l’alouette
Andante sostenuto – Allegretto tranquillo (quasi Andante) – Allegretto molto tranquillo
Julia Fischer violin
Orchestre Philharmonique de Monte Carlo
Ottorino Respighi (1879 - 1936)
 Poema autunnale for violin & orchestra [14:24]
Josef Suk (1874 - 1935)
 Fantasy Opus 24 [24:48]
Ernest Chausson (1855 - 1899)
 Poème, Op.25 [16:05]
Ralph Vaughan Williams (1872 - 1958)
 The Lark Ascending [14:28]