Bernard Michelin, cello; London Philharmonic Orchestra; George Barati, conductor
Robert Riefling, piano; Members of the Oslo Philharmonic Orchestra; Øivin Fjeldstad, conductor
George Barati’s musical language is essentially modern-cosmopolitan in character, reflecting the varied milieu in which he has matured artistically and as a human being. Thus The Dragon and the Phoenix evokes something of both Orient and Occident; in the Cello Concerto there are Hungarian elements discernible in some of the thematic material; the Chamber Concerto is a brilliant essay in colorful modern neo-classic vein. Regardless, however, of whatever elements may predominate in any given work of Barati’s, one is aware above of all three things - immense rhythmic tension and vitality, a telling sense of instrumental and harmonic coloration, and a flair for taut modern-classic structuring in both overall conception and details of phrasing and rhythmic pattern.
Unlike some composers whose characteristic musical language takes form early and changes little through subsequent years, Klaus Egge has sought with every major work to achieve more flexibility in expression, more refinement of craft, more intensity of utterance. Thus, viewing his works as a whole, one looks not so much for stylistic development in the Beethovenian or Brahmsian sense as for certain key works that can be called milestones of creative realization. Thus Egge’s First Symphony (1942) can be said to mark the peak of his effort along epic neo-romantic lines, while the Piano Concerto No. 2 (1944) on this disc represents a remarkable integration of Norwegian folklore style with the modern-classic spirit that dominated the European and American musical scene during the 1935-45 decade. In the Violin Concerto (1953), we sense a striving toward a more intense, terse, and tautly woven musical language that has found its most telling realization in the Sonata Patetica for piano (1955) and the Third Symphony (1957) that was written for the Louisville commissioning series
This title, originally issued on the CRI label, is now available as a burn-on-demand CD (CD-R) or download in MP3/320, FLAC or WAV formats. CD-Rs come in a protective sleeve; no print booklet or jewel case included. Full liner notes are accessible via the link above.
George Barati & Klaus Egge: Concertos
| MP3/320 | $7.99 | |
| FLAC | $7.99 | |
| WAV | $7.99 | |
| CD-R | $7.99 |
A *.pdf of the notes may be accessed here free of charge.
Track Listing
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Concerto for Violoncello & Orchestra: I. Andante espansivo
George Barati
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Concerto for Violoncello & Orchestra: II. Scherzando (Insouciantly)
George Barati
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Concerto for Violoncello & Orchestra: III. Adagio - Allegro non troppo e grazioso
George Barati
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Piano Concerto No. 2, Op. 21: Theme, Variation I
Klaus Egge
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Piano Concerto No. 2, Op. 21: Variation II - Molto moderato e poco animato
Klaus Egge
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Piano Concerto No. 2, Op. 21: Variation III - Allegro ma non troppo
Klaus Egge
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Piano Concerto No. 2, Op. 21: Variation IV
Klaus Egge
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Piano Concerto No. 2, Op. 21: Variation V - Adagio molto espressivo
Klaus Egge
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Piano Concerto No. 2, Op. 21: Variation VI - Andante
Klaus Egge
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Piano Concerto No. 2, Op. 21: Variation VII - Allegro assai; Cadenza
Klaus Egge
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Piano Concerto No. 2, Op. 21: Finale - concertante contra fuga, Allegro ma non troppo
Klaus Egge
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