Prokofiev: The Stone Flower / Gianandrea Noseda, B.b.c. Po
Chandos
CD · 2 discs
$27.99Apr 01, 2003
This first ever digital recording of Prokofiev's music for the ballet 'The Stone Flower' is released to coincide with the 50th anniversary of the composer's death. the story is an amalgamation of several of the folk-style tales in a book by the ural writer Paval Bazhov, cast in a Prologue, four acts and eight scenes which range from village and fairground to mountain caverns. 'The Tale of the Stone Flower' is Prokofiev's last ballet, and he never lived to see it performed. This is Chandos' first recording with Gianandrea Noseda, the new Principal Conductor of the BBC Philharmonic. His work with the orchestra has been greeted with tremendous enthusiasm. Recorded in: New Broadcasting House, Manchester 21, 22, 24 & 28 January 2003 Producer(s) Brian Pidgeon (Executive) Mike George (Recording) Sound Engineer(s) Stephen Rinker Denise Else (Assistant) Nick Bell (Assistant)
Paul Dukas is almost entirely known for his popular tone poem 'The Sorcerer's Apprentice'. This work is, of course, included in this release; however, these discs also offer several larger sclae works, including his impressive Symphony in C major and the Overture Polyeucte as well as the delightful ballet La Péri. Three examples of his rarely performed but no less impressive piano music are performed powerfully by Margaret Fingerhut who received lustrous reviews on the original release. The music of Dukas is highly colourful and atmospheric, demonstrating his somewhat eclectic inspirations, which included Wagner and Franck, as well as the beauty of classical form. There have been relatively few recordings of the Symphony in C major and it is not commonly performed outside France. 'The rumbustious end to the first movement, with some superb brass and vigorous percussion, is a moment to be savoured', wrote Gramophone. The rarely recorded Polyeucte overture is a powerful work in five sections. In the work of Dukas, the Orient was the most seductive foreign influence, as demonstrated in La Péri, his last major work, written for Diaghilev in 1912. Yan Pascal Tortelier is famous for his interpretations of French music and plays this music with idiomatic flair. This bargain two-CD set, which includes the main orchestral and piano mastpieces of Dukas, is an ideal summation of the achievement of this wonderful composer.
With this disc, Naxos completes its survey of ballet scores by Sir Arthur Bliss (1891?1975). Previously released were Adam Zero, generously coupled with Bliss?s A Colour Symphony in performances by the English Northern Philharmonia under David Lloyd-Jones (8.553460), and Miracle in the Gorbals, coupled with music from the film Things to Come and Discourse for Orchestra, with Christopher Lyndon-Gee conducting the Queensland Symphony Orchestra (8.553698). In each case, Naxos presents, for the first time, the full ballet scores rather than suites. Much as I have enjoyed recordings of suites from all three ballets, the music is of such a quality, and so symphonic as well as dramatic in concept, that listening to the suites is rather like hearing an abridged Mahler First, or excerpts from Strauss?s Don Quixote: pleasant, but unsatisfactory. The Checkmate Suite recordings I own on CD?Vernon Handley and the Royal Liverpool Philharmonic on EMI (1978) and Handley again with the Ulster Orchestra on Chandos (1986)?are excellent as to performance and recording, but sadly incomplete. The suite is the same in both, consisting of six of the first seven numbers, but none of the next five, which include the longest and most dramatic movements in the score. Both conclude with an abbreviated version of the finale.
Checkmate tells a grim story, fantastic in conception: Love and Death play a game of chess, but the pieces are human, and not endowed with equal powers. The Black Queen is beautiful, evil, and powerful; neither the Red King nor his Queen can stand against her. The Red Knight can, but falls under the Black Queen?s enchantment long enough for her to slay him. Naxos provides excellent notes by Andrew Burn, so one can follow this drama to its tragic dénouement. Checkmate had its premiere in Paris in 1937; like the First Symphony of William Walton and the Fourth of Vaughan Williams, Bliss?s score seems especially appropriate to the times. The much shorter Mêlée fantasque (1921), while not exactly cheerful, seems by contrast a robustly optimistic piece, even while memorializing a deceased friend and collaborator, the painter Claude Lovat Fraser.
The Scottish Orchestra plays with its usual energy and brilliance, and the sound is vivid, colorful, and, where appropriate, seismic. What a pleasure, at last to hear the complete Checkmate!
Glazunov: Les Ruses D'amour / Andreescu, Romanian State Orchestra
Naxos
CD · 1 disc
$19.99Jan 26, 2010
The Naxos series of Glazunov orchestral works reaches volume 19 with this disc. Composed by Glazunov in 1898 Ruses is also known as The Trial of Damis. This disc is a reissue originally released on Marco Polo 8.220485.
Glazunov was a precocious student of Rimsky-Korsakov during the artistic ferment of the revival of Russian musical nationalism. Composed when he was a sixteen year old Glazunov gained sudden acclaim with the success of his Symphony No. 1. The audience would have been shocked when Glazunov took his bow at the premiere wearing his school uniform. International recognition was established with his symphonies, the tone poem Stenka Razin, the ballets The Seasons and Raymonda, and the ever popular Violin Concerto. He was still composing music in the manner of Rimsky, Anton Rubinstein and Tchaikovsky. His works soon became marginalised having failed to compete with the growing enthusiasm for progressive composers such as Schoenberg, Berg, Stravinsky and his own pupils Prokofiev and Shostakovich. After a century or so we should now be able to reassess Glazunov’s music for its innate qualities rather than be reference to the dynamic of the era in which it was written.
The première of the ballet Les Ruses d'amour was given in the small hall of the Hermitage Theatre, St. Petersburg in 1900. Marius Petipa provided the choreography. The leading dancers were the Italian prima ballerina assoluta Pierina Legnani and her Russian partner Pavel Gerdt. Briefly the story of Les Ruses d'amour centres on the role Isabella who is the daughter of a titled Lady. Isabella pretends to be a maid in a bid to test that the love of her fiancé the Marquis Damis is true and not driven simply by her wealth and status.
The popularity of Les Ruses d'amour has certainly not endured to the same degree as The Seasons and the longer Raymonda ballets that have remained on the fringes of the repertoire. Reasonably appealing, the music of Ruses d'amour is not as recognisable as Glazunov’s other ballets. The composer has not managed to achieve the same melodically memorable quality.
Showing a convincing enthusiasm the Romanian State Orchestra under Horia Andreescu provide creditable playing. I enjoyed the gentle and swaying lyricism of the Introduction and Scene I and in the Recitatif mimique the woodwind-infused music has a distinct bucolic feel. Melody after melody is released in the Sarabanda but the themes are typically unremarkable. One notices the childlike lyricism of the Danse des marionettes and Scenes IV and V are gentle and romantic. The movement Ballabile des paysans et des paysannes is infectious and energetic. I was struck by the soft and tender love music of Grand pas des fiancés which is sugar-coated with a gorgeous line for solo violin and cello. The engaging La Fricassée brings the score to an exciting and energetic conclusion.
2009 2X CD remaster. Enchanting, full of pathos and with it's serpentine waltzes & nightmarishly urgent clock sometimes unnerving, Prokofiev's Cinderella conjures up the enticing, ambiguous world of fairy tales. First performed in Moscow in 19745, the ballet was an immediate triumph. The debut of Raymonda, set at the time of the Crusades, took place nearly 50 years earlier in St. Petersburg. Glazunov's colorful score incorporates elements from Hungary, Spain and the Middle East.
Glazunov: Orchestral Works Vol 8 - The Seasons / Anissimov
Naxos
CD · 1 disc
$19.99Mar 30, 1998
1998 release. Alexander Konstantinovich Glazunov (1865-1936) Orchestral works 8, the Seasons, Op. 67; Scenes de Ballet, Op. 52, Scene Dansante, Op.81 performed by the Moscow Symphony Orchestra Alexander Anissimov conductor. Recorded at Mosfilm Studio, Moscow, Russia in August 1995.
Alexander Anissimov was a conductor unfamiliar to me (some may have heard his much-praised Tchaikovsky Cherevichki at Wexford). He keeps the Moscow Symphony Orchestra on their toes: the strings are keener of articulation than their Bolshoi or Kirov counterparts while balances and dynamics are all observed in an end result of greater sophistication than you might expect from this source (with handsome sound to match). Anissimov excels in the grand symphonic unfolding of the first two numbers and the two Entr’actes, over which he takes more time and care than Fedotov [conducting Kirov].
