Their music director Markand Thakar guides them thoughtfully through the scores. The Baltimore Chamber Orchestra perform on modern instruments, but with appropriate restraint and elegance. Of these the first movement of the B flat Concerto, featuring a fine cadenza written by Suzanne Beia, and the Adagio of the D major work, are particularly memorable.
It is given a relatively uncommon chance to shine as a bringer of melodic cheer, not tear, especially in the Hoffmeister works. There is no doubting…the craftsmanship that has gone into these Concertos and especially the writing for viola. It is hard not to hold your breath as she executes the amazing runs penned by Stamitz. With the deft Baltimore orchestra at her back, Chiang stands at attention, creating a virtuosic wall of sound. 1 in D major and Franz Anton Hoffmeister’s Viola Concerto in D major, and Viola Concerto in Bb major (both with the Baltimore Chamber Orchestra, under the direction of Markand Thakar), she channels something extra special-her powerful sound is explosive. In her recording of Carl Philipp Stamitz’s Viola Concerto No. She pulls a rich and dynamic sound out of the viola, something that commands both attention and respect. As the CD notes state, “Concertos of the viola are among the most rare of all 18th-century works.” But Chiang has long been known as the great communicator when it comes to this instrument. As a violist, it’s hard to find good role models-they’re few and far between, especially when it comes to 18th-century repertoire. Her latest recording features three 18th century viola concertos each of which has real historical and musical importance. She's a founding member of the Aspen Ensemble Quintet, and she serves on the artist faculty at the Peabody Conservatory of Music and the Aspen Music Festival. Victoria Chiang is just such a specialist. It probably had more to do with the lack of viola specialists. This may seem odd since the viola was a standard orchestral instrument and a member of the string quartet a very progressive and important music genre at the time. Equally rare, were concertos for the viola in the 18th century. It was a rare find to catch a glimpse of this special gull with its light-gray head, pale eyes, red legs and red bill. Recently the bird watching world was all a flutter when a gray-hooded gull, from possibly Africa or South America, showed up on the shores of Coney Island. Since 1983 he has been living in Hanover, Germany.Violist Carefully Polishes Rare Gems of the 18th Century Accepting the invitation of Olivier Messiaen and Pierre Bartholomee, he made a premire performance of Penderecki's viola concerto in France, which was recorded live by Radio Paris (1985). Yfrah Neaman in London and has enjoyed a successful performing career working with conductors like Pierre Bartholomee, Michael Tabachnik, Aldo Ceccato, Gilbert Varga, Vassil Kazandjiev, Konstantin Iliev, Alexander Vladigerov and others. Having graduated from the Pancho Vladigerov State Academy of Music in Sofia, he is laureate of a number of prestigious international competitions. The two concertos have been recorded by the talented Bulgarian viola player Dimitar Penkov. The idea of combining the two composers is very interesting and requires incredible artistic mastership. When Penderecki wrote Concerto per viola ed orchestra, the viola had long since established itself in the composers' practice. Stamitz' Konzert D Dur for Viola and Orchestra was composed when the genre was still in its early stage, the interest in the instrument itself was quite lively and its technical means and expressive resources provoked the curiosity of the composers. Living in two different epochs, their works reflect not only the development of music, but also the history of the viola concerto. There are two centuries that separate the composers included in this release - Karl Philipp Stamitz (1745-1801) and Krzystof Penderecki (1933).
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