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TOGETHER 1 Serenata (“Come un sogno d’or”), Op.6 no.1 2.40 Enrico Toselli 1883–1926; Alfredo Silvestri 2 Estrellita (“Estrellita del lejano cielo”) Manuel Ponce 1882–1948 4.22 3 Élégie (Ô, doux printemps d’autrefois) Jules Massenet 1842–1912 2.57 Louis Gallet 4 Weißt du es noch? Die Csárdásfürstin Imre Kálmán 1882–1953 3.50 Leo Stein, Bela Jenbach 5 The Old Refrain (“What shall remain”) Fritz Kreisler 1875–1962 4.54 Alice Mattullath 6 V molchan’i nochi taynoy (In the silence of the secret night), 2.57 Op.4 no.3 Sergey Rachmaninov 1873–1943; Afanasy Fet 7 Barcarolle (“Belle nuit, ô nuit d'amour”) Les Contes d’Hoffmann 2.48 Jacques Offenbach 1819–1880; Jules Barbier, Michel Carré 8 Ideale (“Io ti seguii come iride di pace”) Paolo Tosti 1846–1916 4.06 Carmelo Errico 9 Danny Boy Trad.; Frederic Weatherly 3.29 10 Ombra mai fu Serse George Frideric Handel 1685–1759; Niccolò Minato 3.06 11 Serenade (“Overhead the moon is beaming”) 3.49 The Student Prince Sigmund Romberg 1887–1951; Dorothy Donnelly 12 Berceuse (“Oh! ne t’éveille pas encore”) Jocelyn 4.41 Benjamin Godard 1849–1895; Paul Armand Silvestri, Victor Capoul 13 None but the lonely heart, Op.6 no.6 2.33 Pyotr Ilyich Tchaikovsky 1840–1893 J.W. von Goethe, transl. Mey (Russian), transl. into English 14 Morgen, Op.27 no.4 Richard Strauss 1864–1949; John Henry Mackay 3.17 15 Ne poy, krasavitsa, pri mne (Sing not to me, beautiful maiden), 3.56 Op.4 no.4 Sergey Rachmaninov; Aleksander Pushkin 54.45 PLÁCIDO DOMINGO tenor · ITZHAK PERLMAN violin New York Studio Orchestra/Jonathan Tunick All songs arranged by Jonathan Tunick 2 Plácido Domingo and Itzhak Perlman Photo: Deborah Feingold © Parlophone Records Limited 3 TOGETHER A number of eminent violinists of days gone by were seduced by the sensual touch that an “obbligato” violin could add to a fine vocal performance. Mischa Elman, for example, made recordings with both Enrico Caruso and soprano Frances Alda back in 1913–15, while at around the same time Fritz Kreisler was bringing his own brand of magic to recitals with John McCormack and Geraldine Farrar. Later audiences even had the pleasure of hearing Jascha Heifetz partnering Bing Crosby (1945) and the Hollywood String Quartet accompanying Frank Sinatra (1956). This particular tradition had begun to fade a little, but was revived by Itzhak Perlman and Plácido Domingo in this album brimming with touches of emotion and poetry. Domingo’s mellow, resonant tenor voice is well met by Perlman’s generous phrasing and expansive sonorities. The tender lyricism of their diction, the symbiotic blending of their vibrato and their shared sense of purpose combine to bring a subtle melancholy to each of these short works. Perlman adapts with astonishing ease to each new piece, and throws himself into this theatrical repertoire — his sense of humour often in evidence — colouring his playing by means of portamento, rubato and romantic nuances. Ranging from Toselli to Ponce, and Massenet to Rachmaninov, via Tchaikovsky, Richard Strauss and Handel, this varied anthology reveals a unique encounter between two great artists both renowned not only for their talent but for their ability to win audiences’ hearts the world over. Jean-Michel Molkhou Translation: Susannah Howe 4 Ensemble Plusieurs illustres violonistes du passé ont été séduits par la sensualité que le « violon obbligato » apportait au bel canto . C’est ainsi que dans les années 1913–1915 Mischa Elman fit quelques enregistrements avec Enrico Caruso ou avec Frances Alda et qu’à la même époque Fritz Kreisler associa le charme de son jeu aux voix de John McCormack et de Geraldine Farrar. Plus tard, on put même entendre Jascha Heifetz accompagner Bing Crosby (1945) et le Hollywood String Quartet s’associer à Frank Sinatra (1956). Itzhak Perlman et Plácido Domingo renouent avec cette tradition, qui s’était un peu perdue, pour offrir cet album teinté de poésie et d’émotion. À la voix onctueuse et timbrée du ténor répondent le généreux phrasé et l’ample sonorité du violoniste. Le lyrisme plein de tendresse de leur diction, la symbiose de leurs vibratos et leur complicité d’intention donnent à chacune de ces courtes pièces de subtiles couleurs mélancoliques. Perlman, qui s’adapte avec une fascinante aisance à toutes les musiques, se prend au jeu un peu cabotin du répertoire en colorant son expression, non sans humour, de portamentos, de rubatos et de nuances romanesques. De Toselli à Ponce, de Massenet à Rachmaninov en passant par Tchaïkovski, Richard Strauss ou Haendel, on découvrira dans ce répertoire très varié la réunion unique de deux artistes dont la célébrité s’est bâtie non seulement par le talent, mais aussi par leurs chaleureuses relations avec le public du monde entier. Jean-Michel Molkhou 5 ZUSAMMEN Viele berühmte Geiger vergangener Zeiten ließen sich von der Sinnlichkeit verführen, mit der eine obligate Violine zum Schöngesang beitragen kann. So machte Mischa Elman in den Jahren 1913 –15 mehrere Aufnahmen mit Enrico Caruso und Frances Alda, und zur gleichen Zeit untermalte Fritz Kreisler mit seinem betörenden Violinspiel die Stimmen von John McCormack und Geraldine Farrar. Später konnte man sogar Jascha Heifetz gemeinsam mit Bing Crosby (1945) und Frank Sinatra in Begleitung des Hollywood String Quartet (1956) hören. Itzhak Perlman und Plácido Domingo knüpfen mit diesem poetischen, gefühlvollen Album an diese etwas in Vergessenheit geratene Tradition an. Die samtige, volltönende Stimme des Tenors findet in der üppigen Phrasierung und enormen Klangfülle des Geigers ihre Entsprechung. Die zarte Lyrik des Vortrags, die Symbiose beider Vibrati und die völlige Einmütigkeit der Interpreten verleihen jedem einzelnen dieser kurzen Stücke eine subtile melancholische Färbung. Perlman, der sich mit faszinierender Leichtigkeit allen musikalischen Stilen anpassen kann, stürzt sich — stets mit einer Prise Humor — enthusiastisch in dieses leicht theatralische Repertoire und setzt dabei Portamenti, Rubati und romantisierende Färbungen ein. Von Toselli bis Ponce, von Massenet bis Rachmaninow, über Tschaikowsky, Richard Strauss und Händel zeigt sich in diesem breit gefächerten Repertoire die einzigartige Symbiose zweier Künstler, deren Berühmtheit sich nicht nur auf ihrem Talent gründet, sondern auch auf ihrer herzlichen Beziehung zum Publikum auf der ganzen Welt. Jean-Michel Molkhou Übersetzung: Leandra Rhoese 6 RECORDING LOCATION BMG Recording Studio, New York, 18, 19, 27, 30 September & 4 October 1990 PRODUCER John Fraser BALANCE ENGINEER John Kurlander RECORDING EDITOR Peter Mew PUBLISHERS Boosey & Hawkes (Estrellita); Schott & Co. (The Old Refrain); Warner Chappell (Serenade); Universal Edition AG, Vienna (Morgen) COVER PHOTO Original cover artwork; photo by Deborah Feingold 7 Itzhak Perlman Photo: Deborah Feingold © Parlophone Records Limited 8 Paganini: Mendelssohn Saint-Saëns Vivaldi: Concerto No.1 Bruch: Chausson · Ravel The Four Seasons Sarasate: Carmen Violin Concertos (1975) (1976) Fantasy (1973) Volume 09 Volume 13 (1972) Volume 05 0825646073979 0825646073870 Volume 01 0825646074068 Itzhak Perlman Itzhak Perlman 0825646074181 Itzhak Perlman Orchestre de Paris London Philharmonic Itzhak Perlman London Symphony Jean Martinon Orchestra Royal Philharmonic Orchestra Orchestra André Previn Lawrence Foster J.S. Bach: Bartók: Violin Joplin: The Easy Bruch: Violin Concertos Concerto No.2 Winners & Other Scottish Fantasy Double Concertos (1974) Rags Violin Concerto (1972 & 1975) Volume 06 (1975) No.2 Volume 02 0825646074044 Volume 10 (1977) 0825646074143 Itzhak Perlman 0825646073955 Volume 14 Itzhak Perlman London Symphony Itzhak Perlman 0825646073856 Pinchas Zukerman Orchestra André Previn piano Itzhak Perlman violin André Previn New Philharmonia Neil Black oboe Orchestra English Chamber Jesús López-Cobos Orchestra Daniel Barenboim Paganini: Encores Stravinsky: Brahms: 24 Caprices (1974 & 1979) Divertimento Violin Concerto (1972) Volume 07 Suite Italienne (1977) Volume 03 0825646074013 Duo concertant Volume 15 0825646074136 Itzhak Perlman (1976) 0825646073832 Itzhak Perlman Samuel Sanders piano Volume 11 Itzhak Perlman 0825646073931 Chicago Symphony Itzhak Perlman Orchestra Bruno Canino piano Carlo Maria Giulini Wieniawski: Violin Dvo ˇrák: Itzhak Perlman Duets for two Concertos 1 & 2 Violin Concerto plays Fritz Kreisler violins (1973) Romance (1980) (1977) Volume 04 (1975) Volume 12 Volume 16 0825646074082 Volume 08 0825646073894 0825646073801 Itzhak Perlman 0825646073993 Itzhak Perlman Itzhak Perlman London Philharmonic Itzhak Perlman Samuel Sanders piano Pinchas Zukerman Orchestra London Philharmonic violin Seiji Ozawa Orchestra Daniel Barenboim 9 Goldmark: Violin Sibelius: Violin The Baroque Album Prokofiev: Violin Concerto No.1 Concerto Oboe Quartets Concertos Sarasate: Sinding: Suite Trio Sonatas (1982) Zigeunerweisen (1980) (1982) Volume 29 (1977) Volume 21 Volume 25 0825646079049 Volume 17 0825646073719 0825646079117 Itzhak Perlman 0825646072743 Itzhak Perlman Itzhak Perlman BBC Symphony Itzhak Perlman Pittsburgh Symphony Pinchas Zukerman Orchestra Pittsburgh Symphony Orchestra viola/violin Gennady Orchestra André Previn Ray Still oboe Rozhdestvensky André Previn Lynn Harrell cello Timothy Eddy cello Samuel Sanders harpsichord Vieuxtemps: Violin Brahms: Double Tchaikovsky: Khachaturian: Concertos 4 & 5 Concerto Piano Trio Violin Concerto (1978) (1980) (1981) Tchaikovsky: Volume 18 Volume 22 Volume 26 Méditation 0825646073788 0825646073696 0825646073603 (1984) Itzhak Perlman Itzhak Perlman Itzhak Perlman Volume 30 Orchestre de Paris Mstislav
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  • 825646079148.Pdf

    825646079148.Pdf

    JOHANNES BRAHMS 1833–1897 Concerto for violin and cello in A minor, Op.102 1 I Allegro 16.50 2 II Andante 7.45 3 III Vivace non troppo 8.45 33.21 ITZHAK PERLMAN violin MSTISLAV ROSTROPOVICH cello Concertgebouw Orchestra/Bernard Haitink 2 Mstislav Rostropovich, Suvi Raj Grubb, Bernard Haitink and Itzhak Perlman Photo: Richard Holt © Parlophone Records Limited 3 BRAHMS: DOUBLE CONCERTO Itzhak Perlman and Mstislav Rostropovich made only one official recording together, and leaving aside one live, in all probability pirate version of Brahms’s Double Concerto, we have no other recorded testimony of a collaboration between these two giants. Which makes this recording all the more special, with Bernard Haitink conducting the splendid Concertgebouw Orchestra of Amsterdam, with which Perlman would only collaborate one more time in the recording studio (volume 33). Brahms, though doubtless unaware of the fact at the time, was effectively composing his symphonic swansong with his Op.102. Of the twenty-odd works that he would go on to write before his death, only those for piano, voice or chamber ensemble would truly express the inmost distillation of his musical thought. Although commonplace in the Baroque era, concertos for several soloists were very rare by the Romantic period. Brahms was recalling the tradition of the concerto grosso, which Haydn and Mozart had already reinterpreted in their sinfonie concertanti , as had Beethoven in his Triple Concerto. “And now I must tell you about my latest folly,” Brahms had written to his publisher Simrock, “a concerto for violin and cello! My relationship with Joachim meant that I wanted to give up on the idea — but I couldn’t.