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Šta trenutno slušam . . .


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ću kupim CD Beogradske Filharmonije.. dobra kritika:

Lastly, and I would say best, we have this remarkably authentic-sounding new performance from Gabriel Feltz and the Belgrade Philharmonic, evocatively and powerfully recorded by Dreyer Gaido.

Glière’s music sprawls for the same reason Bruckner and Shostakovich symphonies do. Glière is an annunciatory composer. This means great tremolo-supported brass declarations followed by silences, and that’s where conductors like Farberman can get stuck going too slowly, carried away with the import of each proclamation. Gabriel Feltz is assisted by the authentic Eastern European sound of his brass section. It’s heavy and rich and yet slightly blunt and raw and funereal. Feltz manages to summon almost unbelievable weight. His fast tempos are nearly as swift as Falletta’s, but Feltz’s evocation of the sense of legend is somehow deeper and truer. This is memorable music, unforgettably good music, emotional with not a hint of neurosis. It emerges from gloom and doom, celebrates joyously like Borodin along the way, and then devolves to despair and mystery once again. Though the symphony sports a heroic title, it would seem the hero has a hard time. The legend of Il’ya Muromets would give one nightmares. It’s one of those lovely pre-Freudian tales involving decapitation, eye-stabbing, defeat by the enemy and the turning of the hero to stone. It’s not exactly the Legend of Sleepy Hollow. But then, well, it’s Russia and the Balkans, no happier in 1912 than now, it would seem. Fortunately, in Glière’s hands, inspiration does not stop, and this candidate for “world’s longest symphony”, as conducted by Gabriel Feltz, almost ends too soon.

https://newyorkarts.net/2019/02/a-crop-of-recordings-xxv-gliere-respighi-lortzing-antheil-and-wagner/?cn-reloaded=1

https://naxosdirect.com/items/glière-symphony-no.-3-in-b-minor-op.-42-ilya-muromets-482866

482866.jpg

 

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