|
 |
|
Perhaps you have had the experience of hearing a performance of such magnificence that you can hardly catch your breath…you just want to remain in the spell it has woven throughout the
concert hall…you do not wish to move or intrude into the aura felt by musicians and audience alike! That is the effect upon me when I listened to this CD.
First heard on this CD is the Alexander Kholminov (*1925) Concerto for Bayan and Symphony Orchestra (2009). It is written in one movement with a duration of 21:21 and it holds one’s
attention throughout. While the orchestration is large, Kholminov allows the bayan soloist to be heard above the orchestra by virtue of his compositional style and, therefore, does it without
straining the instrument. As is always the case, Friedrich Lips acquits his performance with great alacrity throughout, as does the Gnesin Academy of Music Symphony Orchestra. Written
in an older style than that of the Podgaits, it is no less an important addition to the ever-growing serious repertoire of all types for the instrument. It is enjoyable to hear, and, although written
late in Kholminov’s active life, it should not be considered old-fashioned or no longer relevant. Friedrich Lips has written comments about why and how this piece came about and these
interesting and informative comments are included with the CD and at the bottom of this review.
The second piece on the CD is the Efrem Podgaits (*1949) “Lips Concerto” for Bayan and Symphony Orchestra (2001). The one movement concerto has a duration of 31:16 and the
listener must not miss one second of this truly magnificent composition performed in equal fashion by both soloist, Friedrich Lips, and the Gnesin Academy of Music Symphony Orchestra
conducted by Timur Mynbaev. One cannot imagine a more polished refined performance! It is in my mind, a capture of pure perfection in every detail. Of course, we have come to expect this
excellence of Friedrich Lips and he never fails; he seems to surpass every previous performance each time. The conductor, too, must be praised for the careful control over the huge forces
required by the composer’s orchestration, and has done so without emasculation.
Efrem Podgaits has given every section of the orchestra meaningful music to play and they are given the freedom to do so! And, oh, how well they play. There are no out-of-tune members in
this orchestra, there are no unseemly attacks by the brass, no uneven runs by the winds, and no ugliness from the busy percussion; these are extremely fine musicians and they help make the
performance of this Concerto the masterpiece it is. Whether fortissimo or pianissimo, this orchestra makes music of the very highest caliber and it does so while giving the soloist freedom
to play as he wishes; it is the very epitome of excellent cooperation between orchestra and soloist! There are no dull moments. You will hear sweet, beautiful melodies, unusually
juxtaposed with great, exciting, pulsating rhythms. There are tiny motifs passed throughout many different sections of the orchestra. And you will hear many different instruments given an
opportunity to demonstrate delightful fragments so important to the whole; they will catch your attention. Podgaits has provided a brilliant score for everyone. You will enjoy every moment!
Friedrich Lips once again plays with utmost finesse and fluidity, as well as flamboyance and passion. Whatever the composer’s score demands, Lips fulfills in abundance. His artistry is
unparalleled in this Concerto. He has always shown an authority in his use of the bellows, not for entertaining showmanship but for accommodating the requirements of the music; this piece is
one more demonstration of those abilities. This same sensitivity is shown in the glissandi, the bending of tones, and even in the small sounds I assume come from a scratching of the bellows.
Every note he plays in either hand is heard with beautiful clarity. In the performance of this musical masterpiece given him by the composer Efrem Podgaits, Friedrich Lips exemplifies the
elite artist in his prime of life. We must be thankful. It is a treat for us to hear such artistry.
Lips has supplied extremely interesting and informative notes with the CD. They are reproduced here. This CD is again one of those outstanding recordings we should have in our libraries. It is
indeed one of historical significance, too, in that it captures the works of a composer of earlier years as well as a younger, prolific and quite successful composer, both of whom were drawn to
write for the bayan as a result of the efforts by Friedrich Lips. It gives our repertoire ever more credence and acceptability by the large world of musicians throughout the world, something
which must be maintained and ever-ongoing. We must not rest on any laurels. It is the work of individuals like Lips, Podgaits, and Kholminov which must never stop. It becomes our
responsibility to encourage such work by purchasing and distributing their recordings to others, both inside and outside the accordion/bayan world community.
1) Live in the Concert Hall, Music Academy Gnessin, Moscow, 12 December 2010
2) Live in the Concert Hall, Music Academy Gnessin, Moscow, 24 December 2003
Reviewed by Joan C.Sommers – November, 2013.
Purchase CD online at: http://www.musicforaccordion.com/Boutique/inform/lips/CD025.htm |
