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Karabits: Concertos for Orchestra (2013)

Posted By: peotuvave
Karabits: Concertos for Orchestra (2013)

Karabits: Concertos for Orchestra (2013)
EAC Rip | Flac (Tracks + cue + log) | 245 MB | MP3 320Kbps CBR | 144 MB | 1 CD | Full Scans
Genre: Classical | Label: Naxos | Catalog Number: 8572633

Following Ukraine’s independence in 1991, Ivan Karabits became the country’s leading musical figure. An inspirational composer, artistic director and teacher, he absorbed into his own music three particular traditions: Mahler, Shostakovich, and the folk-music of his native country. The colourful, virtuosic and at times theatrical Concertos for Orchestra reflect the influence of his friend and mentor, Rodion Shchedrin. Following Karabits’ untimely death, his compatriot Valentin Silvestrov composed two heartfelt memorials. The first of these, Elegie, makes use of Karabits’ own unfinished pencil sketches which sit side by side with Silvestrov’s own ideas as the piece progresses, almost as if it were a dialogue between the two friends about their work.

Composer: Ivan Karabits, Valentin Silvestrov
Conductor: Kirill Karabits
Orchestra/Ensemble: Bournemouth Symphony Orchestra

Reviews: Ivan Karabits was not the kind of big-name composer who would have come to the attention of Western music directors, and few indigenous recordings of his music have ever made it to these shores. This is regrettable, as Karabits was a composer who in different times would very likely have developed an international reputation. Until his untimely death in 2002 at the age of 57, he was a leading musician in his native Ukraine, a tireless arts director, teacher, and spokesperson for Ukrainian music and musicians. As a composer he was much influenced by Shostakovich and—as was the Russian composer—by Mahler. Rimsky-Korsakov is significant in the mix in this composer’s orchestral works, as well.

However, the most direct influence on the three concertos for orchestra is Russian composer Rodion Shchedrin—friend and mentor to Karabits—whose first two (of five) single-movement works in this form served as models for the Ukranian composer. The concertos were written between 1980 and 1989, and like Shchedrin’s, are striking in the use of orchestral timbre, and in the deployment of a panoply of percussion and of unusual instruments like the harpsichord. They are at once easily accessible and intriguingly complex. Like their models, they are multisectional, with passages of intense brassy flamboyance and contrasting deep reflection or grief-tinged lyricism. The first of the concertos, Musical Gift to Kiev , is reminiscent of Respighi in its cinematic portrait of the city and its bells, though nothing so obviously representational as the Roman tone poems. The second concerto is even more abstract, with moments of endearing quirkiness confronting an implacable darkness, a central section of haunting bleakness, and an exuberant and oft-times screwball dance including a percussion display capped by orchestral clapping. The last of the concertos, subtitled Lamentation , was written on commission for the Las Vegas Symphony Orchestra, and was one of the composer’s few chances to be performed in the West. He chose to commemorate two tragedies of 20th-century Ukrainian history: Stalin’s terror famine during the 1932–33 collectivization of farms, in which millions starved to death, and the Chernobyl reactor disaster. It is a work of raw power and unbearable poignancy, especially in the final passages of solo piano, solo violin, bells, flute, and soft moaning intonations by the players.

The two works by Karabits’s friend and compatriot, Valentin Silvestrov, conclude the program in an elegiac mode. Silvestrov, once an uncompromising modernist, displays here a post-modernist nostalgic romanticism. Both works are deeply touching compositions for strings written to memorialize Karabits’s passing. Elegie is a working out of ideas that Karabits was sketching during his final illness with some of Silvestrov’s own: a sort of dialog between old friends. Abschiedsserenade is a short two-movement lament written in Mahlerian expressive language.

The three concertos for orchestra are all premiere recordings which can be assumed authoritative as they are conducted by Karabits’s son, Kirill. He has been the music director of the Bournemouth Symphony Orchestra since 2009. The orchestra is in superb form, as they were in their recent recording, also with the younger Karabits, of Shchedrin’s last two concertos for orchestra (Naxos). Andrew Walton and Mike Clements do their usual magic in the concert hall of The Lighthouse, Poole, creating a full but detailed image of the orchestra, seemingly mid-way back. Dynamics are wide and percussion transients sharp. Andrew Burn provides informative notes on these little-known composers and works. This is an outstanding release of music with wide potential appeal that deserves to be better known.

Tracklisting:

Ivan Karabits - Concerto for Orchestra No. 2
1. I. Allegro - (4:59)
2. II. Andante, molto espressivo - (5:14)
3. III. Moderato (6:48)

Concerto for Orchestra No. 3, Holosinnya (Lamentations)
4. I. Largo rubato - (5:35)
5. II. Allegro (10:33)

Concerto for Orchestra No. 1, Musikalnoe prinosheniye Kievu (Musical Gift to Kiev)
6. I. Maestoso - (3:43)
7. II. Presto (8:38)

Valentin Silvestrov
8. Elegy (6:10)
9. Abschiedsserenade - I. Adagio (3:01)
10. Abschiedsserenade- II. Moderato (3:59)

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 22. September 2015, 11:16

Bournemouth Symphony Orchestra, Kirill Karabits / Orchestral Works

Used drive : hp DVD-RAM GHB0N Adapter: 0 ID: 0

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Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track

Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
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TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:59.16 | 0 | 22440
2 | 4:59.16 | 5:14.65 | 22441 | 46055
3 | 10:14.06 | 6:59.46 | 46056 | 77526
4 | 17:13.52 | 5:35.02 | 77527 | 102653
5 | 22:48.54 | 10:47.34 | 102654 | 151212
6 | 33:36.13 | 3:43.41 | 151213 | 167978
7 | 37:19.54 | 8:47.30 | 167979 | 207533
8 | 46:07.09 | 6:16.50 | 207534 | 235783
9 | 52:23.59 | 3:01.34 | 235784 | 249392
10 | 55:25.18 | 3:59.15 | 249393 | 267332


Track 1

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Track 3

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Track 4

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Track 6

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Track 8

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Track 9

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Track 10

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All tracks accurately ripped

No errors occurred

End of status report

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[CTDB TOCID: Z.YYmTnubv4dyuvl3uPmCXXQQvU-] disk not present in database, Submit result: Z.YYmTnubv4dyuvl3uPmCXXQQvU- has been uploaded


==== Log checksum 1CA38CF0D981600E58EBA783C8F52BFCB263064AC81C1382E831E074512E91E1 ====



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