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Makushimu Emeryanichiefu - Beethoven: Symphony No.3. Brahms: Variations On A Theme By Haydn - Import CD
Makushimu Emeryanichiefu - Beethoven: Symphony No.3. Brahms: Variations On A Theme By Haydn - Import CD
CD
Classical Music
Chamber Music
November 20, 2018
Will usually ship within 1~5 business days of receiving cleared payment.
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Catalog No.: AP191
JAN/ISBN: 5051083140102
Number of Discs: 1
Country/Region of Manufacture: Import
Credits:
Makushimu Emeryanichiefu
Description:
The Return of Mravinsky?! Emelyanichev Makes a Surprising Conducting Debut Maxim Emelyanichev, who recently visited Japan for the first time and made his Japanese debut with the Tokyo Symphony Orchestra performing Brahms’ Symphony No. 1 and Beethoven’s “Emperor” (with Steven Hough as soloist). He first gained attention as a continuo player with Koulentzis’s Musica Aeterna, where he demonstrated remarkable talent during the recording of Mozart’s Da Ponte opera trilogy. However, he is a true “thoroughbred” who has received the finest training available today, having studied conducting under Rogestvensky at the Moscow Conservatory and further honed his skills under Kourentzis. He has conducted the Italian ensemble Il Pomodoro and released recordings of Italian Baroque vocal works, among others, but this time he has taken on German works from the Classical and Romantic periods. The Nizhny Novgorod Symphony Orchestra is an outstanding ensemble known for premiering works by Shostakovich—which Rogestvensky was banned from performing in Moscow—and for being the orchestra with which Rostropovich made his conducting debut. For this recording, Emelyanichev opted for a chamber orchestra rather than a full orchestra. He takes a keen interest in the orchestra’s sound and, as an audio enthusiast, pays meticulous attention to how the music sounds from the audience’s perspective—even going so far as to adjust the precise orientation of the instruments. He didn’t stop at acoustics; he meticulously researched the orchestra’s original instrumentation from the time of the premiere and reportedly adjusted the number of string instruments in this recording to match it. The first thing that strikes the listener is the brisk tempo, which feels entirely natural and lends the performance a sense of momentum and vitality. Furthermore, despite the small ensemble, both the volume and the musical texture are expansive, creating a sense of excitement as if the “21st-century Mravinsky” has arrived. It is fair to say that this is the discovery of a talent every bit as great as Kulentsis’s. King International
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