- Cello Concerto in E minor, Op. 85 - Edward Elgar - Christoph Eschenbach - Christoph Eschenbach - Philharmonia Chamber Orchestra - Lionel Tertis - Kevin Kleinmann - Ralph Aldrich - David Aaron Carpenter - David Aaron Carpenter
- Viola Concerto - Alfred Schnittke - Christoph Eschenbach - Christoph Eschenbach - Philharmonia Chamber Orchestra - Kevin Kleinmann - Ralph Aldrich - David Aaron Carpenter
Elgar & Schnittke: Viola Concertosby David Aaron Carpenter
Elgar...viola concerto? Has a previously forgotten work been discovered? Alas, no. The viola concerto referenced on the cover of this Ondine album featuring violist David Aaron Carpenter is in fact a transcription of the famous "E minor Cello Concerto." Purists, take a breath and let's proceed. Elgar did in fact give a nod of approval to the/a>… See more details below
Elgar...viola concerto? Has a previously forgotten work been discovered? Alas, no. The viola concerto referenced on the cover of this Ondine album featuring violist David Aaron Carpenter is in fact a transcription of the famous "E minor Cello Concerto." Purists, take a breath and let's proceed. Elgar did in fact give a nod of approval to the arrangement made by violist Lionel Tertis. Carpenter has further refined the original Tertis transcription, keeping the solo part remarkably true to the original cello part. This is not hard to imagine, as the viola possesses the same strings as the cello, just an octave higher. For anyone listening to Carpenter's performance without previous knowledge of the "Cello Concerto," it's possible that the "viola version" would make a tremendous impact. Carpenter's playing is amazingly lush and technically superb; his interpretation of the work easily rivals the great cellists who have performed this work. But for those who are familiar with these great cello interpretations, there is something obviously missing here: the depth and darkness achieved by the cello. Adding that extra octave to the viola part brightens the landscape no matter how sultry and provocative Carpenter's tone may be. What is entirely successful is what comes next: Carpenter's performance of the Schnittke "Viola Concerto." Without any necessary comparison to an "original" version, listeners can truly focus on the music at hand. Schnittke's concerto, written for Carpenter's teacher Yuri Bashmet, is one of the crown jewels of the viola repertoire. It is filled with dark, despairing passages, perhaps presaging the series of strokes the composer was to suffer immediately after its completion. Carpenter's performance is staggering in its power and intensity. Conductor Christoph Eschenbach and the Philharmonia Orchestra provide an equally dark, mysterious background with careful attention to dynamics to allow the viola to be heard easily throughout.
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Performance CreditsDavid Aaron Carpenter Primary Artist
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The title of the CD is "Elgar, Schnittke: Viola Concertos". Some of you may wonder why you've never heard of a viola concerto by Elgar. In the 1930's, violist Lionel Tertis approached Elgar with an idea for a transcription of his recently completed cello concerto (now one of Elgar's most popular works, made famous mostly thanks to cellist Jacqueline du Pre). Some 70+ years later, David Aaron Carpenter (a protege of Pinchas Zuckerman), has recorded this transcription for the Finnish label Ondine. He has even made a few changes of his own, for good measure. I'm torn on this piece, as I am a former violist myself. I appreciate what Mr. Carpenter is trying to bring to this piece, but in the end, I thought the viola was too boxy. I couldn't stop thinking of the du Pre/Barbirolli recording of the cello concerto that is now one the staples of an essential classical music collection. Technically, David Aaron Carpenter is very gifted, and Christoph Eschenbach and the Philharmonia Orchestra provide ample energy to Elgar's great work, but in the end, I found myself missing the warmth and charm of the cello. I have not yet heard any other recordings of the Schnittke viola concerto. If I decide to dig deeper, I'll look for the recording featuring the violist for whom it was written, Yuri Bashmet. I've even heard TDK had released a DVD of Bashmet's performance of this piece, which also includes Valery Gergiev discussing the work. Unfortunately, I don't believe the DVD is available in the States. In any case, I thought this was a really passionate work. Two Largo movements bookend a very frenetic 2nd movement, the opposite of what you would expect to hear in a 3-movement concerto. Kudos to Naxos for taking on distribution of the Ondine label (I've enjoyed some of their recordings of Rautavaara), and I will be keeping an eye out for David Aaron Carpenter's next release.
Blazing a world-class career on the heels of such luminaries as Yuri Bashmet and Roberto Diaz, violist David Aaron Carpenter makes a shining debut on his first CD featuring a transcription of the Edward Elgar Cello Concerto, and the Alfred Schnittke Viola Concerto, both recorded with the Philharmonia Orchestra, conducted by Christoph Eschenbach. In his own note for the CD, Mr. Carpenter writes of how several Classical and Romantic composers were passionate fans of the viola, yet wrote few works specifically for its darker charms. His theory is the historical shortage of famous viola virtuosos who were capable of generating widespread fame with concertos on the same level as violin, cello, and piano. Mr. Carpenter, at 23, is a fresh protégé rising to the challenge of placing viola in a brighter solo spotlight. If his debut recording is any indication, he should achieve much success. In order to draw listeners to the viola's special capabilities, Mr. Carpenter issues the Elgar with his own stamp, personally transcribing the solo part based on Lionel Tertis' famous, composer-approved version as a template. Mr. Carpenter closely aligns his version to the original cello solo part, yet gives it colorful characteristics that are distinctively violistic. Throughout the Elgar's treasury of thrilling moments, as well as the chilling and difficult Schnittke concerto, Mr. Carpenter plays with star-making technique that is where it should be: ever present yet transparent. Rapid passages tickle the ear with precision. Slower sections arch with incredible phrasing. Changes of dynamics, harmonics, and other extended techniques reveal the richness and excitement to be found in both scores. Most impressively, from the heart-wrenching opening of the Elgar, through the final emotional strains of the Schnittke, Mr. Carpenter consistently produces captivating tone. His approach to the challenging Schnittke awakens curiosity, forcing the listener to wonder what is coming next, a rare feat in modern repertoire that only comes from the most virtuosic hands. Mr. Eschenbach's accompaniment is equally impressive, allowing the viola to project through the orchestra as clear as a bell, even in bolder moments where the viola could be easily lost. This impressive first CD deserves recognition, and should advance Mr. Carpenter on his fast trajectory toward worldwide stardom.