本录音获得世界性成就，除了音效在普通版时期已真实无比，Gary Karr之扣人心弦技艺功不可没，如今Lim 马老闆再度以xrcd 24重刻这一张精选了七张经典的低音大提琴演奏专辑，再合而为一，让此片「精选集」的价值收藏非凡。
美国的时代杂志曾经赞扬盖瑞.卡尔为居世界领导为居世界领导地位之低音提琴独奏家(the world’s leading solo bassist)，不仅如此，盖瑞.卡尔也是史上第一位将低音提琴独奏作为全职的低音提琴独奏家，而盖瑞.卡尔所拥有由库赛夫斯基遗孀所致赠的1611年的低音提琴Amati使得盖瑞.卡尔的音乐成就更蔚为传奇。
盖瑞.卡尔于低音提琴的成就是一项传奇中的传奇。意大利的有线电视曾转播三场卡尔的低音提琴独奏会给两千万古典音乐爱好者欣赏，而盖瑞.卡尔在日本由King唱片所发行的许多录音，在亚洲地区长久以来一直是排行榜上的常客。美国的CBS曾为盖瑞.卡尔录制Camara Three专辑于Bell Telephone Hour节目中播出；在加拿大，CBC电视台制作了Gary Karr and his friend系列节目；在英国的Channel 4电视台也曾录制一系列的儿童节目Bass is Beautiful；在1985年英国BBC制作了两集影片，一个是介绍卡尔的音乐及生活"Amazing Bass"，另一个是为儿童所作的专辑；在盖瑞.卡尔与伦敦交响乐团的第三张录音中，录制了英国作曲家约翰道尼的低音提琴协奏曲；美国CBS的Sunday Morning节目曾专题介绍卡尔的成就；威斯康辛大学亦发行了一卷介绍盖瑞.卡尔於低音提琴的独到见解BASSically Karr和一卷特别的儿童音乐会Karrtunes。这些是盖瑞.卡尔众多成就的一小部份。盖瑞.卡尔最自豪的一项成就是由名女高音罗莎朋赛儿基金会(Rosa Poselle Foundation)所颁发的金牌奖，这证明盖瑞.卡尔不仅是一位低音提琴家，他的音乐的歌唱性令他获得这个专属于声乐家的成就。
I first came across Gary Karr, when, as a very young record collector, I was given a recording of Saint-Saëns’ Carnival of the Animals conducted by Bernstein (BRG 72072). On this 1962 LP Bernstein had deliberately selected some outstanding teenage musicians to play the work and Gary Karr was one of them. In fact he played The Swan normally heard on the cello but here on the double bass and Bernstein was obviously most moved by his performance as he said in his narration on the record. Aged only 19, Karr was already obtaining a uniquely strong, distinctive, lyrical and eloquent sound out of an instrument, which no one was taking seriously. It has been Karr’s obsession to reverse the public’s perception of this heavy, grumbling instrument and he is well on the way. He is the first full-time professional solo double-bassist in history according to his website and I for one would not like to disagree.
This 1992 recording is released in Europe for the first time. It is interesting to consider that, now 10 years on, Gary Karr has gone on to bigger and even greater things although his performances in Britain are still all too rare.
I will go through these three works in turn starting with Stuart Sankey’s extraordinary Carmen Fantasy. This is not of course the first of its ilk. Just recently there has been one recorded by the late Buxton Orr. Other more famous string examples would include the one by Sarasate. Sankey’s is a very clever and enjoyable example using a large orchestra. After a portentous start the bass has a virtuoso cadenza. Immediately the problem of recorded balance rears its head. You need to turn up the volume here having kept it lower for the opening. This difficulty haunts the entire piece. I hasten to add that the composer may be trying to use the bass as if it were a cello; indeed I asked myself if the piece would work even better on a cello.
Similar questions and problems of recorded balance are found in the Grieg. Here, Karr has taken the cello original and transcribed and voiced it more effectively for the bass. He then asked Joe Horovitz to orchestrate it which he has done with clarity and imagination. The excellent notes by Cyrus Meher-Homji explain that the transcription "came about partly through Gary Karr’s concern that there was little in the double bass repertory that was as familiar to audiences as opposed to some of the more well-known concertos." This is all very laudable, and really quite successful. But I then heard the original Cello Sonata. This is played by David Finckel and Wu Han on a very fine BBC Music Magazine CD - well worth seeking out. What is lacking from the new version is the emotional power at the climaxes. The tuning is also unsure, even more significant with an orchestra to contend with. Incidentally the finale in the bass version is a clever reworking and shortening of the original so as to avoid some particularly unsuitable passages.
To see how a double bass concerto can really work try Wilfred Josephs’ 30-minute concerto. This is well worth listening to carefully. I would also draw readers’ attention to the concerto by Peter Maxwell Davies on now-deleted Collins 13962. The Josephs begins with a heartfelt recitative, which could almost be a tone-row. The opening movement is the longest and reaches a grand climax. It is marked Allegretto but seems to show little tempo contrast with the second which is marked Adagio ma non troppo. The finale is a Moderato marziale which reminded me a little of the BBC television score Josephs wrote in the late ’60s for the ‘The Great War’ series. Its use of the very bottom register is most telling, especially when accompanied by bassoon and trombone. There is an element of the circus here, which the concerto needs at this point. The bass in this ten-year-old recording seems too recessed and the brass has been vividly recorded so that a brass chord bounces out of the speakers rather like a raspberry.
So, all in all, I can’t get too excited by this disc, but for aficionados of the bass or indeed of modern concertos this would at the very least be an interesting purchase.
Read more: http://www.musicweb-international.com/clas...U1vQJM00
Performer: Gary Karr
Orchestra: Berlin Radio Symphony Orchestra
Conductor: Uros Lajovic
Composer: Serge Koussevitzky, Domenico Dragonetti, Niccolo Paganini
Audio CD (March 21, 1994)
Number of Discs: 1
Label: Koch Schwann (Germ.)
release date 1980
5.0 out of 5 stars Bass is Beautiful!!! March 3, 2003
Although this CD is much older, this recording of Gary Karr playing these wonderful classical concertos for double bass is the best I've heard. There is so much emotion and intensity in the performance that makes the listener never want the music to end. Karr projects over the orchestra with such ease, which is a problem for most Double Bassists because the sound is so low. I've yet to find a better recording of these Concertos; the Koussevitzky is my favorite and the unique cadenza Karr performs in the Dragonetti Concerto is beautiful. You can't go wrong with this CD.
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11 of 12 people found the following review helpful
4.0 out of 5 stars Karr plays like an Angel May 14, 2000
By Marcos Drpic
In this album you can tell Gary's excellent tuning and the "colours" of his instrument. The CD was recorded on 1980, it has very low output. So I have to put it a little bit louder than normal db. After doing this, a disgusting buzz appears during the whole album coming from both speakers. I think that it is from the original recording. In the "one of my favourites pieces written for DoubleBass" the Sergei Koussevitsky Concerto, at some passages, the sound of the DoubleBass get lost because of the Orchestra. The Paganini variations, I preffer the version that appears with the London DoubleBass Sound, it's a newer recording, and with superb interpretation. But in general terms, is an excellent CD.
Virtuoso Double Bass
Edvard GRIEG (1843-1907)
Concerto for Double Bass and orchestra in A minor (originally Cello Sonata) transcribed by Gary KARR and orchestrated by Joseph HOROVITZ
Wilfred JOSEPHS (b.1927)
Concerto for Double Bass and Orchestra Op 118
Stuart SANKEY (b.1927)
Carmen Fantasy after Bizet
Gary Karr (double bass)
Adelaide Symphony Orchestra/Patrick Thomas
Recorded in Adelaide Town Hall, November 1992
1. Concerto For Double-Bass And Orchestra: Allegro
2. Concerto For Double-Bass And Orchestra: Andante
3. Concerto For Double-Bass And Orchestra: Allegro
4. Concerto In A Major For Double-Bass And Orchestra: Allegro moderato
5. Concerto In A Major For Double-Bass And Orchestra: Andante
6. Concerto In A Major For Double-Bass And Orchestra: Allegro guisto
7. Fantasia On 'Moses'