| Baiba Skride |
| Jean Sibelius: Violin Concerto, 2 Serenades; Carl Nielsen: Violin Concerto (Thursday 20 August 2015) |
Baiba Skride — Jean Sibelius: Violin Concerto, 2 Serenades; Carl Nielsen: Violin Concerto (Thursday 20 August 2015)
★★★★★ Koncert ke 150. výročí narození Sibélia, přesto mám zde výrok: ‘Teď nejsou časy výhodné pro Sibéliův houslový koncert’, říká dirigent Jukka–Pekka Saraste. ‘Ideály a lidské preference pro hraní se změnily.’ Baiba Skride je však houževnatá. Má úžasnou čistotu, přesnost a jasnost. Obyčejně to dělám tak, že si postavím vedle sebe stejně kvalitní umělce se stejnými čísly, jakoby šlo o paralelní slalom ve skialpinismu. Vilde Frang je tedy její protějšek. Skride je delikátní, seriózní a obrazně řečeno ‘smooth’, a kdybych měl hledat paralelu z jiného světa, je v tomto oboru něco jako Sade. Když Richard Strauss uváděl světovou premiéru silně revidované verze houslového koncertu od svého kolegy, skladatele Jeana Sibelia v roce 1905, kde byl Karel Halíř jako sólista, znamenalo to zrození mistrovského díla na druhý pokus, tzv. definitivní znění. V tom roce Rusko prohrálo válku s Japonskem, Einstein formuloval speciální teorii relativity, v Německu byla poprvé v hornictví použita pneumatická kladiva a narodili se Jean Paul Sartre, Jiří Voskovec a Jan Werich. Naopak zemřel Jules Verne. Nejpozději od druhé světové války se tento koncert těší nezastavitelné sérii triumfů ve všech koncertních sálech světa. Jeho konstrukce je úžasná. Rozsáhlá architektura pomocí osvědčených formálních prvků a ohromující ‘open space’ prostor může být částečně důvodem, proč tato práce tak často přitahuje interprety. Nabízí dojmy rozlehlosti a touhy, jako je tomu ve finské krajině, v rodné zemi svého tvůrce. Tento pocit prostoru je zde spárován v souhru častých lyrických, pozdně–romantických tónech a opakovaných okamžicích neuvěřitelné technické virtuozity, pocitově dechberoucí pro umělce a u posluchačů je tomu podobně.
Ξ★ U Carla Nielsena (1865 — 1931) je to zajímavé trochu jinak: experimentuje s progresivní tonalitou způsobem, že už je více progresivní než samotný Sibelius, i když ještě bez odbočení do modernismu. 
Ξ★ Since winning the Queen Elisabeth violin prize in 2001, Skride has performed with an impressive list of orchestras and conductors worldwide.
Ξ★ Carl Nielsen • Jean Sibelius: Violin Concertos / Jean Sibelius, Violin Concerto D minor Op. 47 • 2 Serenades for Violin and Orchestra Op. 69 • Carl Nielsen, Violin Concerto Op. 33
Ξ★ Baiba Skride (violin) / Tampere Philharmonic Orchestra, Santtu–Matias Rouvali
Born: 1981 in Riga, Latvia
Location: Riga, Latvia
Release date: Thursday 20 August 2015
Recording date: January 7, 2015 — January 9, 2015
Record Label: Orfeo [C 896 152 A]
Genre: Classical, Violin
Duration: 86:32
Tracks:
CD1: Jean Sibelius (1865 — 1957)
Violin Concerto in D minor, Op.47
01. I. Allegro moderato 17:04
02. II. Adagio di molto 9:31
03. III. Allegro, ma non tanto 7:45
04. Serenade in D major 6:32
05. Serenade in G minor 8:05
CD2: Carl Nielsen (1865 — 1931)
Violin Concerto, Op.33
01. I. Preludium: Largo 6:43
02. II. Allegro cavalleresco 13:20
03. III. Poco Adagio 6:39
04. IV. Rondo: Allegretto scherzando 10:48
© Baiba Skride 2015
Credits:
★ Marco Borggreve Cover Photo, Photography
★ Christiane Delank Producer
★ Kaapo Kamu Photography
★ Atelier Langenfass Cover Design
★ Enno Maemets Engineer
★ Karin Martensen Liner Notes
★ Carl Nielsen Composer
★ Santtu–Matias Rouvali Conductor
★ Jean Sibelius Composer
★ Seppo Siirala Digital Editing, Recording Producer
★ Baiba Skride Violin
★ Tampere Philharmonic Orchestra Orchestra
★ Chris Walton Liner Note Translation
Ξ★ Born into a musical Latvian family violinist Baiba Skride won First Prize at the 2010 Queen Elisabeth Competition, held annually in Belgium. Ms. Skride’s natural approach to her music making has endeared her to some of today’s most important conductors and orchestras. Following her debut at the BBC Proms with the Oslo Philharmonic and Vasily Petrenko playing the Szymanowski Concerto No. 1, The Times noted, ‘Latvian violinist Baiba Skride sailed over the orchestra with long lines of melody, silver and sweet.’ She was immediately re–invited, and at the 2014 Proms played the Stravinsky Concerto with the BBC Symphony and Ed Gardner. Baiba Skride debut recording with Orfeo of the Szymanowski Concertos and Myths was nominated for the 2015 BBC Music Magazine Awards in the Concerto section. For her Orfeo CD follow up she has recorded two Scandinavian violin concertos truly exciting, fresh and innovative — Jean Sibelius’s well–loved concerto and Carl Nielsen’s unjustly neglected companion work — with the Tampere Philharmonic and conductor Santtu–Matias Rouvali.
Review
Author: Andrew Mellor
Ξ★ ‘These are not good times for the [Sibelius] Violin Concerto,’ says conductor Jukka–Pekka Saraste on a video at the probing Sibelius exhibition currently showing at Helsinki Town Hall. ‘Ideals of playing have changed.’ Saraste’s point is that the concerto’s necessary stillness and tenacity elude most soloists these days. I wonder what he would make of Baiba Skride’s recording, which might be a world away stylistically from Ida Haendel’s performances but has something of her unfettered sense of peace, inevitability and, yes, tenacity.
Ξ★ We know Sibelius’s revision of the concerto reined in the score’s virtuoso tendencies. We also know a little about the violin the composer was gifted by a seafaring uncle and its sweet, tight sound. Skride’s own sound is notably sweet and tight, and her general demeanour in the concerto more shamanistic than heroic. She doesn’t have a great deal of power, particularly down low, but she has astonishing purity, accuracy and clarity. The first Allegro breathes patience, particularly in those circling and patterning passages that draw excitable, breathless playing from others (Batiashvili, Vengerov).
Ξ★ That lack of power means Skride can’t quite weigh the slow movement down like Haendel did, but the engineers meet her halfway in a recording that’s more floating than rooted. Skride has no fear of the movement’s inbuilt aimlessness, which more than compensates. She occasionally struggles with the quick, intricate demands of the finale — there are two slips in the opening sequence — but still that patient weave, that unfettered limpidness, is there. Santtu–Matias Rouvali makes more sense of the concerto’s oddball final bars than most. Together, Rouvali and Skride find the ideal footing for the Two Serenades, particularly the latter. The orchestra’s veiled tone is like a velvet cushion for Skride’s ribbon of sound, frequently devoid of vibrato — often fragile, always delicate.
Ξ★ Skride approaches the Nielsen Concerto with much of the same care, but that’s really not the name of the game in this piece. The opening cadenza is nowhere near abrupt enough and when Nielsen’s japes kick in, it all sounds like a Victorian parlour game compared with Vilde Frang’s copious musical dynamite. There’s a whiff of sentimentality in Skride’s tight vibrato at the end of the Largo which doesn’t fit the aesthetic, and in the ensuing Allegro cavalleresco (which is on the slow side) the orchestra is all smoothness too; surely the score suggests it’s attempting to cajole the soloists on to a different course?
Ξ★ The same qualities that make Skride’s Sibelius create a gorgeous Poco adagio in the Nielsen, the soloist finding a wonderful sense of space (try the exchanges with the brass from 3’44”). But in the Allegretto scherzando that rounds the concerto off with increasing mischief, politeness once more gets the better of both soloist and orchestra. Put Skride’s cadenzas next to Vilde Frang’s and you see how the two temperaments of these outstanding violinists contrast so sharply. Frang’s cadenzas, all spiky and impish, are in Nielsen’s image. Skride’s, delicate, earnest and smooth, aren’t.
Ξ★ http://www.gramophone.co.uk/
Also:
Ξ★ http://www.marbecks.co.nz/detail/543646/Violin-Concerto-2-Serenades-with-Nielsen-Violin-Concerto
Artist Biography by Blair Sanderson
Ξ Baiba Skride is a Latvian violinist, raised in Riga in a musical home with her sisters, pianist Lauma Skride and violist Linda Skride. Starting in 1995, she attended the Conservatory of Music and Theater in Rostock, studying with Petru Munteanu. In 2001 she won the Queen Elisabeth Violin Competition in Brussels. She has performed around the world with major orchestras, including the Berlin Philharmonic, the Boston Symphony Orchestra, the Bavarian Radio Symphony Orchestra, Orchestre de Paris, the London Philharmonic, and many others. Among her collaborators are conductors Christoph Eschenbach, Yannick Nézet–Séguin, Andris Nelsons, Neeme Järvi, Paavo Järvi, and Mario Venzago, and chamber musicians Bertrand Chamayou, Brett Dean, Sol Gabetta, Alban Gerhardt, Xavier de Maistre, and her sister, Lauma Skride, who frequently accompanies her. Baiba Skride plays a 1734 Stradivarius, the “Ex Baron Feilitzsch,” from the collection of Gidon Kremer.
Website: http://baiba-skride.com/
Facebook: https://www.facebook.com/Baiba-Skride-434763796579621/
© Baiba Skride Photo: Marco Borggreveall rights reserved, s laskavým svolením pro Tais Awards Academy 2016
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| Baiba Skride |
| Jean Sibelius: Violin Concerto, 2 Serenades; Carl Nielsen: Violin Concerto (Thursday 20 August 2015) |
★★★★★ Koncert ke 150. výročí narození Sibélia, přesto mám zde výrok: ‘Teď nejsou časy výhodné pro Sibéliův houslový koncert’, říká dirigent Jukka–Pekka Saraste. ‘Ideály a lidské preference pro hraní se změnily.’ Baiba Skride je však houževnatá. Má úžasnou čistotu, přesnost a jasnost. Obyčejně to dělám tak, že si postavím vedle sebe stejně kvalitní umělce se stejnými čísly, jakoby šlo o paralelní slalom ve skialpinismu. Vilde Frang je tedy její protějšek. Skride je delikátní, seriózní a obrazně řečeno ‘smooth’, a kdybych měl hledat paralelu z jiného světa, je v tomto oboru něco jako Sade. Když Richard Strauss uváděl světovou premiéru silně revidované verze houslového koncertu od svého kolegy, skladatele Jeana Sibelia v roce 1905, kde byl Karel Halíř jako sólista, znamenalo to zrození mistrovského díla na druhý pokus, tzv. definitivní znění. V tom roce Rusko prohrálo válku s Japonskem, Einstein formuloval speciální teorii relativity, v Německu byla poprvé v hornictví použita pneumatická kladiva a narodili se Jean Paul Sartre, Jiří Voskovec a Jan Werich. Naopak zemřel Jules Verne. Nejpozději od druhé světové války se tento koncert těší nezastavitelné sérii triumfů ve všech koncertních sálech světa. Jeho konstrukce je úžasná. Rozsáhlá architektura pomocí osvědčených formálních prvků a ohromující ‘open space’ prostor může být částečně důvodem, proč tato práce tak často přitahuje interprety. Nabízí dojmy rozlehlosti a touhy, jako je tomu ve finské krajině, v rodné zemi svého tvůrce. Tento pocit prostoru je zde spárován v souhru častých lyrických, pozdně–romantických tónech a opakovaných okamžicích neuvěřitelné technické virtuozity, pocitově dechberoucí pro umělce a u posluchačů je tomu podobně.
Ξ★ U Carla Nielsena (1865 — 1931) je to zajímavé trochu jinak: experimentuje s progresivní tonalitou způsobem, že už je více progresivní než samotný Sibelius, i když ještě bez odbočení do modernismu.
Ξ★ Since winning the Queen Elisabeth violin prize in 2001, Skride has performed with an impressive list of orchestras and conductors worldwide.
Ξ★ Carl Nielsen • Jean Sibelius: Violin Concertos / Jean Sibelius, Violin Concerto D minor Op. 47 • 2 Serenades for Violin and Orchestra Op. 69 • Carl Nielsen, Violin Concerto Op. 33
Ξ★ Baiba Skride (violin) / Tampere Philharmonic Orchestra, Santtu–Matias Rouvali
Born: 1981 in Riga, Latvia
Location: Riga, Latvia
Release date: Thursday 20 August 2015
Recording date: January 7, 2015 — January 9, 2015
Record Label: Orfeo [C 896 152 A]
Genre: Classical, Violin
Duration: 86:32
Tracks:
CD1: Jean Sibelius (1865 — 1957)
Violin Concerto in D minor, Op.47
01. I. Allegro moderato 17:04
02. II. Adagio di molto 9:31
03. III. Allegro, ma non tanto 7:45
04. Serenade in D major 6:32
05. Serenade in G minor 8:05
CD2: Carl Nielsen (1865 — 1931)
Violin Concerto, Op.33
01. I. Preludium: Largo 6:43
02. II. Allegro cavalleresco 13:20
03. III. Poco Adagio 6:39
04. IV. Rondo: Allegretto scherzando 10:48
© Baiba Skride 2015
Credits:
★ Marco Borggreve Cover Photo, Photography
★ Christiane Delank Producer
★ Kaapo Kamu Photography
★ Atelier Langenfass Cover Design
★ Enno Maemets Engineer
★ Karin Martensen Liner Notes
★ Carl Nielsen Composer
★ Santtu–Matias Rouvali Conductor
★ Jean Sibelius Composer
★ Seppo Siirala Digital Editing, Recording Producer
★ Baiba Skride Violin
★ Tampere Philharmonic Orchestra Orchestra
★ Chris Walton Liner Note Translation
Author: Andrew Mellor
Ξ★ ‘These are not good times for the [Sibelius] Violin Concerto,’ says conductor Jukka–Pekka Saraste on a video at the probing Sibelius exhibition currently showing at Helsinki Town Hall. ‘Ideals of playing have changed.’ Saraste’s point is that the concerto’s necessary stillness and tenacity elude most soloists these days. I wonder what he would make of Baiba Skride’s recording, which might be a world away stylistically from Ida Haendel’s performances but has something of her unfettered sense of peace, inevitability and, yes, tenacity.
Ξ★ We know Sibelius’s revision of the concerto reined in the score’s virtuoso tendencies. We also know a little about the violin the composer was gifted by a seafaring uncle and its sweet, tight sound. Skride’s own sound is notably sweet and tight, and her general demeanour in the concerto more shamanistic than heroic. She doesn’t have a great deal of power, particularly down low, but she has astonishing purity, accuracy and clarity. The first Allegro breathes patience, particularly in those circling and patterning passages that draw excitable, breathless playing from others (Batiashvili, Vengerov).
Ξ★ That lack of power means Skride can’t quite weigh the slow movement down like Haendel did, but the engineers meet her halfway in a recording that’s more floating than rooted. Skride has no fear of the movement’s inbuilt aimlessness, which more than compensates. She occasionally struggles with the quick, intricate demands of the finale — there are two slips in the opening sequence — but still that patient weave, that unfettered limpidness, is there. Santtu–Matias Rouvali makes more sense of the concerto’s oddball final bars than most. Together, Rouvali and Skride find the ideal footing for the Two Serenades, particularly the latter. The orchestra’s veiled tone is like a velvet cushion for Skride’s ribbon of sound, frequently devoid of vibrato — often fragile, always delicate.
Ξ★ Skride approaches the Nielsen Concerto with much of the same care, but that’s really not the name of the game in this piece. The opening cadenza is nowhere near abrupt enough and when Nielsen’s japes kick in, it all sounds like a Victorian parlour game compared with Vilde Frang’s copious musical dynamite. There’s a whiff of sentimentality in Skride’s tight vibrato at the end of the Largo which doesn’t fit the aesthetic, and in the ensuing Allegro cavalleresco (which is on the slow side) the orchestra is all smoothness too; surely the score suggests it’s attempting to cajole the soloists on to a different course?
Ξ★ The same qualities that make Skride’s Sibelius create a gorgeous Poco adagio in the Nielsen, the soloist finding a wonderful sense of space (try the exchanges with the brass from 3’44”). But in the Allegretto scherzando that rounds the concerto off with increasing mischief, politeness once more gets the better of both soloist and orchestra. Put Skride’s cadenzas next to Vilde Frang’s and you see how the two temperaments of these outstanding violinists contrast so sharply. Frang’s cadenzas, all spiky and impish, are in Nielsen’s image. Skride’s, delicate, earnest and smooth, aren’t.
Ξ★ http://www.gramophone.co.uk/
Also:
Ξ★ http://www.marbecks.co.nz/detail/543646/Violin-Concerto-2-Serenades-with-Nielsen-Violin-Concerto
Ξ Baiba Skride is a Latvian violinist, raised in Riga in a musical home with her sisters, pianist Lauma Skride and violist Linda Skride. Starting in 1995, she attended the Conservatory of Music and Theater in Rostock, studying with Petru Munteanu. In 2001 she won the Queen Elisabeth Violin Competition in Brussels. She has performed around the world with major orchestras, including the Berlin Philharmonic, the Boston Symphony Orchestra, the Bavarian Radio Symphony Orchestra, Orchestre de Paris, the London Philharmonic, and many others. Among her collaborators are conductors Christoph Eschenbach, Yannick Nézet–Séguin, Andris Nelsons, Neeme Järvi, Paavo Järvi, and Mario Venzago, and chamber musicians Bertrand Chamayou, Brett Dean, Sol Gabetta, Alban Gerhardt, Xavier de Maistre, and her sister, Lauma Skride, who frequently accompanies her. Baiba Skride plays a 1734 Stradivarius, the “Ex Baron Feilitzsch,” from the collection of Gidon Kremer.
Website: http://baiba-skride.com/
Facebook: https://www.facebook.com/Baiba-Skride-434763796579621/
_____________________________________________________________