Composed by Vladimir Godar
with Istropolitana Capella
2. Partita for 54 strings, harpsichord, timpani & tubular bells
Composed by Vladimir Godar
Performed by Slovak Philharmonic Orchestra Conducted by Andrew Parrott
Godár: Concerto grosso; Partita,Vladimir Godar,Andrew Parrott,Capella Istropolitana,Slovak Philharmonic Orchestra,Ent. Media Partners,Classical,Classical Music,Classical Vocals,Concerto,Harpsichord Concerto,Orchestral,Orchestral Music
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Godár: Concerto grosso; Partita
Manufacturer: Ent. Media Partners ProductGroup: Music Binding: Audio CD  General
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ASIN: B000002XCQ Release Date: 1997-10-24 |
Tracks:
- Con Grosso: Adagio Sostenuto - Capella Istropolitana
- Con Grosso: Presto E Molto Agitato - Capella Istropolitana
- Con Grosso: Ground-Largo E Quieto - Capella Istropolitana
- Partita: Fuga: Adagio - Slovak PO/Andrew Parrott
- Partita: Con: Allegro Con Spirito - Slovak PO/Andrew Parrott
- Partita: Corale: Lento - Slovak PO/Andrew Parrott
- Partita: Capriccio: Presto - Slovak PO/Andrew Parrott
- Partita: Canzonetta: Andante Quieto E Cantabile - Slovak PO/Andrew Parrott
Customer Reviews:
A pleasant (albeit disconcerting) discovery.......2004-05-11
The Concerto Grosso is the more notable piece here, perhaps because it is more compact, certainly because each of the three movements is radically different. The first movement strikes the listener as bizarre: strings with extreme vibrato at first sound like music for a carnival spookhouse. Then the moaning notes remind one of the distinctive folk fiddle style of Eastern Europe. At last one decides that a heavy wind storm is being evoked: wind in trees, through rocks, across steppes.
The second movement uses a classical, Vivaldian motif, with dissonant variations, so that the music is alternately pleasant and disconcerting. Conductor Andrew Parrott delivers a great momentum here, and certainly gets the toe tapping. The final movement begins almost inaudibly with eerie minor strings, and gradually a recognisable figure emerges to grow slowly over the course of the piece.
The Partita continues to demonstrate Godar's interest in producing atmospheres by use of sustained strings, and is certainly effective in this regard. It struck me while listening to this that Godar could be an effective composer of movie soundtracks. I also wondered whether he was a fan of horror movies or gothic novels, given the sense of enjoyable creepiness that he demonstrates here.
It turns out that this Slovakian composer does write soundtracks, but unfortunately these films are rarely seen in the English-speaking world. He has also composed a number of other concert pieces. This CD has certainly whetted my curiousity, and I will be seeking out further of his work in the future.
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