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825646078967.Pdf ANTONÍN DVO Rˇ ÁK 1841 –1904 Sonatina in G major, Op.100 1 I Allegro risoluto 5.57 2 II Larghetto 4.18 3 III Scherzo (Molto vivace) 2.57 4 IV Finale (Allegro) 5.38 BED RˇICH SMETANA 1824 –1884 Z domoviny (From My Homeland) 5 No.1 Moderato 3.19 6 No.2 Andantino — Moderato 5.09 ANTONÍN DVO Rˇ ÁK Four Romantic Pieces, Op.75 7 No.1 Allegro moderato 2.56 8 No.2 Allegro maestoso 2.46 9 No.3 Allegro appassionato 2.24 10 No.4 Larghetto 4.58 40.30 ITZHAK PERLMAN violin SAMUEL SANDERS piano 2 Itzhak Perlman Photo: Jillian Edelstein © Parlophone Records Limited 3 PERLMAN AS NARRATOR Itzhak Perlman has a considerable gift for acting, as only a few minutes with him will confirm. Just as he can adapt the style and tone of his playing to suit a range of different kinds of music, he also knows how to use his natural talent as an actor to imitate different dialects and foreign accents, and to do funny voices. He’s also a master storyteller, skilled at weaving tales full of surprise and imagination — hardly surprising, then, that he has been invited to lend his rich, deep tones to several recordings of children’s classics. Camille Saint-Saëns, who loved animals more than he did people, was inspired to write his “Grande Fantaisie zoologique” while on holiday in Austria in 1886. With a touch of mischief, he reserved it for the annual Shrove Tuesday concert he gave to his close friends, and forbade the public performance of this lighthearted “occasional” piece during his lifetime, in the interests of protecting his reputation as a distinguished composer of concertos, symphonies and opera. He did, however, add a codicil to his will granting permission for its posthumous publication, and Gabriel Pierné conducted the first public performance of Carnival of the Animals two months after Saint- Saëns’s death in 1921. Apart from the roar of the lion, clucks and crowing of the hens and cockerel, and braying of the “personages with long ears”, most of the animals parading by are evoked rather than imitated. The composer also finds plenty of ways of expressing his sense of humour, whether it’s mocking pianists, whom he nicknames “wild asses”, or telling musical jokes in the form of parodies. Here, the music is punctuated by Perlman’s readings of the well-known Ogden Nash poems, although when he made his second recording of the work, with the Atlanta Symphony Orchestra (1995, Telarc), he performed a new set of rhymes written especially for him by his friend Bruce Adolphe. Sergei Prokofiev wrote Peter and the Wolf , its story based on an old Russian folk tale, with the aim of introducing children to the main instruments of the orchestra. Premiered in 1936 under the baton of the composer at Moscow’s Philharmonic Hall, the work was an instant success and has remained hugely popular ever since, in both classrooms and concert halls. Listeners of all ages continue to be captivated by its freshness and originality as they discover the various characters — Prokofiev uses rhythmic and melodic means to portray their nature and behaviour, and artfully associates each character with a particular instrument. So, for example, the crafty cat is personified by the clarinet, the hungry wolf by three horns, little Peter, our young hero, by a string quartet, and his grumpy grandpa by the bassoon. The bird is a flute, the duck an oboe and the timpani signal the arrival of the hunters, while the narrator leads us through the twists and turns of the story until a final triumphant march brings it to an end. These are two fine examples of the difficult art of expressing humour through music — two works perfectly suited to a man whose sense of humour is such an intrinsic part of his personality. To round off this programme, with a brief nod to Perlman’s more serious side, we also hear his brief appearance as the jailer in Tosca , in a production conducted by James Levine. Jean-Michel Molkhou Translation: Susannah Howe 4 Perlman narrateur Itzhak Perlman possède de véritables dons d’acteur. Il suffit de s’entretenir ne serait-ce que quelques minutes avec lui, pour le remarquer immédiatement. Tout comme il est capable d’adapter son jeu et la sonorité de son violon aux différentes musiques qu’il aborde, il sait user de son talent naturel de comédien pour reproduire des accents étrangers, des dialectes ou des voix amusantes. Sa narration, qui témoigne d’une imagination débordante, regorge de surprises merveilleuses. Il n’est donc pas étonnant qu’il ait été sollicité pour prêter sa voix grave et généreuse à des enregistrements de contes pour enfants. Camille Saint-Saëns, qui adorait les animaux plus que les hommes, eut l’idée de sa « Grande Fantaisie zoologique » lors d’un voyage en Autriche en 1886. Non sans malice, il la destina au concert annuel de Mardi gras de son cercle d’amis. Elle ne devait pas être portée à la connaissance du public, l’auteur ne souhaitant pas officiellement attacher cette « pièce d’occasion » à sa réputation distinguée de compositeur de concertos, symphonies et opéras. Ce ne fut qu’après sa mort en 1921 qu’un codicille, ajouté à son testament, permit enfin la publication du Carnaval des animaux , qui fut interprété en public pour la première fois deux mois après sa mort sous la direction de Gabriel Pierné. En dehors des rugissements du lion, du caquetage des poules, du chant du coq et du braiement de « personnages à longues oreilles », le but de Saint-Saëns dans la majeure partie de cette parade est davantage l’évocation que l’imitation. De plus, il trouve le moyen d’exercer son sens de l’humour, non seulement lorsqu’il se moque des pianistes, baptisés « Hémiones », mais aussi dans des plaisanteries en forme de parodies. Les poèmes familiers d‘Ogden Nash, ici lus par Perlman, ponctuent traditionnellement la musique, bien que lors de la seconde version à laquelle le violoniste ait participé aux côtés de l’Orchestre symphonique d’Atlanta (1995, Telarc), son ami Bruce Adolphe en ait rédigé de nouveaux à son intention. Serge Prokofiev composa Pierre et le Loup , d’après un conte populaire russe, dans le but de faire connaître aux jeunes auditeurs les principaux instruments de l’orchestre. Créée en 1936 à la Philharmonie de Moscou sous la direction de l’auteur, l’œuvre eut un succès immédiat qui, dépassant de loin son dessein pédagogique premier, ne s’est jamais démenti depuis. Sa fraîcheur et son originalité enchantent les publics de tous âges qui découvrent un à un chaque personnage, habilement associé par le compositeur à un instrument particulier. Au-delà de la simple sonorité, Prokofiev personnalise, par le rythme et par la nature des mélodies, le caractère et le comportement de chacun. Ainsi le chat, fourbe, est personnifié par la clarinette, le loup, affamé, par trois cors, Petit Pierre, le héros ingénu, par un quatuor à cordes, et son grand-père, bougon, par un basson. L’oiseau est une flûte, le canard un hautbois, tandis que les timbales signalent l’arrivée des chasseurs, les commentaires du narrateur agrémentant les péripéties de l’histoire jusqu’à une marche triomphale conclusive. Voici deux beaux exemples d’un art difficile, celui de l’humour en musique, qualité essentielle de la personnalité d’Itzhak Perlman. Plus sérieusement, mais en guise de clin d’œil, on entendra ici en complément de programme sa brève apparition dans le rôle du geôlier de Tosca , dans une version dirigée par James Levine. Jean-Michel Molkhou 5 PERLMAN ALS ERZÄHLER Itzhak Perlman besitzt in der Tat schauspielerisches Talent. Es reicht schon, sich ein paar Minuten mit ihm zu unterhalten, um das sofort zu erkennen. So wie er imstande ist, sein Spiel und den Klang seiner Violine den verschiedenen Arten von Musik anzupassen, mit denen er sich befasst, so verwendet er sein natürliches Talent als Schauspieler darauf, fremde Akzente, Dialekte oder vergnügliche Stimmen wiederzugeben. Seine Erzählweise, die von einer blühenden Phantasie zeugt, wartet mit wunderbaren Überraschungen auf. Es ist daher nicht erstaunlich, dass man an ihn mit der Bitte herantrat, seine tiefe und volle Stimme für die Einspielung von Kindergeschichten zur Verfügung zu stellen. Camille Saint-Saëns, der sich den Tieren näher fühlte als den Menschen, kam 1886 während einer Reise nach Österreich auf die Idee zu seiner “Grande Fantaisie zoologique”. Nicht ohne boshafte Hintergedanken widmete er sie dem Konzert, das jedes Jahr am Karnevalsdienstag in seinem Freundeskreis stattfand. Sie sollte dem Publikum nicht bekannt werden, der Autor wollte nicht, dass dieses “Gelegenheitsstück” offiziell mit seinem ausgezeichneten Ruf als Komponist von Konzerten, Sinfonien und Opern in Verbindung gebracht würde. Erst nach seinem Tod im Jahr 1921 erlaubte ein Zusatz in seinem Testament schließlich die Veröffentlichung des Karnevals der Tiere , der zwei Monate nach seinem Tod unter der Leitung von Gabriel Pierné zum ersten Mal öffentlich aufgeführt wurde. Über das Gebrüll des Löwen, das Gegacker der Hühner, das Krähen des Hahnes und das I-a-Geschrei von “Leuten mit langen Ohren” hinaus war Saint-Saëns’ Ziel im überwiegenden Teil dieser Parade eher die Anspielung als die Nachahmung. Darüber hinaus fand er ein Ventil für seinen Humor, nicht nur wenn er sich über die “Halbesel” getauften Pianisten mokierte, sondern auch in seinen parodieartigen Späßen. Die bekannten Gedichte von Ogden Nash, hier von Perlman gelesen, durchziehen nach alter Tradition die Musik; für die zweite Fassung, die der Geiger mit dem Atlanta Symphony Orchestra einspielte (1995, Telarc), hatte ihm sein Freund Bruce Adolphe neue verfasst.
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