Corigliano / Beethoven / Paert "Credo" | 
 enlarge | Creators: Arvo Paert, Ludwig Van Beethoven, John Corigliano, Esa-pekka Salonen, Swedish Radio Choir, Swedish Radio Symphony Orchestra, Helene Grimaud
Label: Universal Classics
Category: Music
List Price: £15.99
Buy New: £6.18
You Save: £9.81 (61%)
New (32) Used (4) from £6.18
Avg. Customer Rating:  1 reviews
Sales Rank: 46815
Media: Audio CD
Running Time: 68
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.7 x 5 x 0.5
MPN: 000173202
UPC: 028947176923
EAN: 0028947176923
ASIN: B0000CGV00
Release Date: January 19, 2004
Availability: Usually dispatched within 1-2 business days
Shipping: International shipping available
Condition: BRAND NEW PRODUCT Factory Sealed - Ships via Airmail from the USA - Average 5 to 14 workdays delivery time - Excellent customer service - Buy with confidence!
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| Tracks:
| • | Fantasia on an Ostinato | | • | 1. Largo - Allegro | | • | 2. Adagio | | • | 3. Allegretto | | • | 1. Adagio - Helene Grimaud, Swedish Radio Symphony Orchestra, Esa-Pekka Salonen, Swedish Radio Choir, Lone Larsen, Susanne Carlstroem, Monika Mannerstroem, Annika Hudak, Mats Carlsson, Per Bjoersund, Wedin Lage | | • | 2. Finale: a) Allegro - Meno allegro - Allegro molto - Adagio ma non troppo - Marcia, assai vivace - Helene Grimaud, Swedish Radio Symphony Orchestra, Esa-Pekka Salonen, Swedish Radio Choir, Lone Larsen, Susanne Carlstroem, Monika Mannerstroem, Annika Hudak, Mats Carlsson, Per Bjoersund, Wedin Lage | | • | Credo for Piano solo, Mixed Choir and Orchestra - Helene Grimaud, Swedish Radio Symphony Orchestra, Esa-Pekka Salonen, Swedish Radio Choir, Stefan Parkman |
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| Customer Reviews:
Universality for Grimaud's first Universal release. November 24, 2004
12 out of 16 found this review helpful
This c.d. is very much based upon Grimaud's belief in the concept of 'Universality' propounded by the poet Novalis, and others. In short and simply this is the idea that underlying the multifarious forms of sensible things we are all fundamentally connected, and that music is one way, albeit a uniquely potent one, to reveal and renew this connection. The forms of music are important in themselves, but also substantially as messengers of this spiritual conection, and that is the key to understanding the diverse nature of the music here. If you have any sympathy with any of this then you're likely to be interested in this disc, and love it as I did, but it's also interesting as an unusualy adventurous release from a major record label. It is very encouraging for long time admirers of this pianist, who has newly signed to the label and is of an independant mind. She seems to be deeply serious, and is an uncommon combination of passion and feeling with brains, and on this ground alone deserves a hearing. I wonder sometimes if she is at her best 'live', as witness her Brahms d min. concerto with Sanderling, and performances of the Bartock third concerto, due for a release on disc in Feb 2005, in which she is often inspired and inspiring (If you heard her play it under Boulez in London this year, you will want that recording.) The Part is live and seems the most telling piece here, although this might be because it brings to a conclusion what is, for this listener at least, an extremely moving programme. Music as redemptive can seem worse than a cliche, a bad joke when we are assaulted by so much noise, but if you already suspect that it might be so then these performances could convince you. Philosophy aside, what might appeal about her as a pianist is her willingness to take expressive risks, which on this disc tend toward the inward rather than the overtly dramatic, and although she can be virtuosic and dashing in performance, you might feel that we could have done with a little more of the latter in the choral phantasia, but that is to complain of the concept behind the whole. I wouldn't, and feel that here message and substance are perfectly linked. I hope more people like it and buy it - hopefully she'll get the chance to make some more along simmilar lines. That doesn't happen too often with this sort of thing, and so......over to you.
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