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CHAN 6654 BOOK.Qxd 22/5/07 4:18 Pm Page 2 CHAN 6654 Cover.qxd 22/5/07 4:17 pm Page 1 CHAN 6654(5) CHAN 6654 BOOK.qxd 22/5/07 4:18 pm Page 2 Igor Stravinsky (1882–1971) COMPACT DISC TWO TT 79:14 Le Chant du Rossignol (1917) 20:56 COMPACT DISC ONE TT 76:46 1 Presto – 2:20 Symphony in E flat, Op. 1 (1905–07) 34:12 2 Marche chinoise 3:32 1 I Allegro moderato 9:42 3 Le Chant du Rossignol – 3:36 2 II Scherzo. Allegretto 6:03 4 Le Jeu du Rossignol mécanique 11:28 3 III Largo 9:42 Stephen Jeandheur trumpet solo 4 IV Finale. Allegro molto 7:38 Symphony in Three Movements (1942–45)* 21:19 5 Violin Concerto (1931) 21:54 I = 160 9:09 5 I Toccata 5:28 6 II Andante – Più mosso – Tempo I 6:08 6 II Aria I 4:58 7 III Con moto 5:58 7 III Aria II 5:27 8 IV Capriccio 5:50 Capriccio for Piano and Orchestra (1949)* 16:56 Lydia Mordkovitch violin 8 I Presto 6:40 9 II Andante rapsodico 5:05 Symphony of Psalms (1930) 21:52 10 III Allegro capriccioso ma sempre giusto 5:11 9 I Exaudi orationem meam, Domine 3:02 Geoffrey Tozer piano 10 II Expectans expectavi Dominum 7:02 11 III Alleluja, laudate Dominum 11:15 Concerto for Piano and Wind Chœur de Chambre Romand Instruments (1950) 19:31 Chœur Pro Arte de Lausanne 11 I Largo – Allegro – Più mosso – Maestoso Société chorale du Brassus (Largo del principo) 7:14 André Charlet chorus master 12 II Largo – Più mosso – Doppia valore – Tempo primo 7:21 13 III Allegro – Agitato – Lento – Strigendo 4:50 Boris Berman piano 2 3 CHAN 6654 BOOK.qxd 22/5/07 4:18 pm Page 4 COMPACT DISC THREE TT 66:36 Tableau II 24:25 Petrushka (1911) 33:03 16 Apollo’s Variation 2:48 Tableau I: The Shrovetide Fair 9:31 17 Pas d’action 4:17 1 The Crowds 5:03 18 Calliope’s Variation. Allegretto 1:37 2 The Mountebank’s Booth 1:44 19 Polyhymna’s Variation. Allegro 1:16 3 Russian Dance 2:44 20 Terpsichore’s Variation. Allegretto 1:35 21 Apollo’s Variation. Lento 2:04 4 Tableau II: Petrushka’s Room 4:08 22 Pas de deux 4:06 23 Coda. Vivo – Tempo sostenuto – Agitato 3:17 Tableau III 6:52 24 Apothéose. Largo e tranquillo 3:10 5 The Moor’s Room 2:56 6 Dance of the Ballerina 0:48 25 Circus Polka (1944) 3:41 7 Waltz 3:08 Tableau IV 12:32 COMPACT DISC FOUR TT 74:35 8 The Shrovetide Fair (evening) 1:02 The Rite of Spring (1911–13, revised 1947)* 32:42 9 Wet Nurses’ Dance 2:17 Part I – Adoration of the Earth 10 Peasant and Bear 1:19 1 Introduction – 3:13 11 Dance of the Gipsy Girls 1:04 2 The Augurs of Spring – Dances of the Young Girls – 3:46 12 Dance of the Coachmen and Ostlers 1:51 3 Ritual of Abduction – 1:20 13 The Masqueraders 1:25 4 Spring Rounds – 3:31 14 Death of Petrushka 3:34 5 Ritual of the River Tribes – 1:51 Ursula Rüttiman piano • Lô Angelloz flute 6 Procession of the Sage – 0:43 Dennis Ferry cornet • Pierre Pilloud tuba 7 The Sage – 0:23 8 Dance of the Earth 1:16 Apollon Musagète (1947)* 29:34 Part II – The Sacrifice Tableau I 5:09 9 Introduction – 3:57 15 Birth of Apollo 10 Mystic Circles of the Young Girls – 3:11 4 5 CHAN 6654 BOOK.qxd 22/5/07 4:18 pm Page 6 11 Glorification of the Chosen One – 1:26 Chorale Variations (1955)* 10:40 12 Evocation of the Ancestors – 0:49 on the Christmas Carol ‘Vom Himmel hoch, 13 Ritual Action of the Ancestors – 3:06 da komm’ ich her’ (J. S. Bach) 14 Sacrificial Dance (The Chosen One) 4:09 32 Chorale 0:48 Raynal Malsam bassoon solo 33 Variation I In canone all’Ottava 1:13 34 Variation II Alio modo in canone alla Quinta 1:14 Canticum Sacrum (1955)* 16:40 35 Variation III In canone alla Settima 1:51 15 Dedicatio 0:40 36 Variation IV In canone all’Ottava per 16 I Euntes in mundum 1:59 augmentationem 2:30 17 II Surge, aquilo 2:25 37 Variation V L’altra sorte del canone al rovescio 3:04 III Ad Tres Virtutes Hortationes 18 Caritas – 2:12 Irène Friedli alto Frieder Lang tenor 19 Spes – 1:47 Michel Brodard bass 20 Fides 2:46 Chœur Pro Arte de Lausanne 21 IV Brevis Motus Cantilenae 2:41 Chœur de Chambre Romand 22 V Illi autem profecti 1:58 André Charlet choir master Requiem Canticles (1966)* 14:01 COMPACT DISC FIVE TT 79:32 23 Prelude 1:06 Symphony in C (1940) 28:21 24 Exaudi 1:34 1 I Moderato alla breve – Tempo agitato senza troppo 25 Dies irae – 0:58 accelerare – Tempo I 9:47 26 Tuba mirum 1:07 2 II Larghetto concertante – Doppio movimento – 27 Interlude 2:31 Doppio valore 6:35 28 Rex tremendae 1:17 3 III Allegretto 4:53 29 Lacrimosa 1:55 4 IV Largo – Tempo giusto, alla breve 6:59 30 Libera me 0:58 31 Postlude 2:18 6 7 CHAN 6654 BOOK.qxd 22/5/07 4:18 pm Page 8 Oedipus Rex (1927) Jocasta……Gabriele Schnaut soprano Opera – Oratorio in two acts after Sophocles 50:58 Oedipus….. Peter Svensson tenor Shepherd….Ruben Amoretti tenor Prologue Creon……...Franz Grundheber baritone 5 Speaker: Spectateurs… 1:08 Tiresias……Günther Von Kannen bass Act I 22:44 Messenger…Rudolf Rosen bass Speaker……Jean Piat 6 Chorus: Caedit nos pestis 3:33 Chœur de Chambre Romand 7 Oedipus: Liberi, vos liberabo 3:01 Chœur Pro Arte de Lausanne 8 Speaker: Voici Créon… 0:28 Société chorale du Brassus 9 Creon: Respondit deus 3:16 André Charlet chorus master 10 Oedipus: Non reperias 3:15 11 Speaker: Oedipe interroge… 0:48 Orchestre de la Suisse Romande 12 Chorus: Delie exspectamus 1:49 Robert Zimansky/Jean Piguet* leaders 13 Tiresias: Dicere non possum 2:55 Neeme Järvi 14 Oedipus: Invidia fortunam odit 3:39 Act II 26:58 15 Chorus: Gloria! 1:11 16 Speaker: La dispute des princes… 1:15 17 Jocasta: Nonne erubescite reges 5:15 18 Jocasta, Oedipus, Chorus: Laius in trivio 2:26 19 Jocasta, Oedipus: Oracula… 1:56 20 Speaker: Le témoin du meurtre… 0:50 21 Messenger, Chorus: Adest omniscius 2:16 22 Shepherd: Oportebat tacere 1:24 23 Oedipus: Nonne monstrum rescituri 1:17 24 Shepherd, Messenger, Chorus: In montre reppertus est1:13 25 Oedipus: Natus sum 0:47 26 Speaker: Et maintenant… 1:48 27 Messenger, Chorus: Divum Jocastae caput mortuum 5:21 8 9 CHAN 6654 BOOK.qxd 22/5/07 4:18 pm Page 10 quotes Tchaikovsky’s doom-laden descent into concerto. ‘Apart from my pieces for the string The Essential Stravinsky oblivion). Tchaikovsky would surely have used quartet and numerous passages in Pulcinella, the first idea merely as an introduction, not a I had had occasion, particularly in the Histoire theme, and his mature orchestration is always du Soldat, to tackle the technique of the violin Symphony in E flat The first is closest to Glazunov in post- much more accomplished, but there is a new as a solo instrument.’ Oddly enough, he did By the time the twenty-three-year-old Meistersinger vein (the Wagnerian spell had note in Stravinsky’s spare, desolate coda and not specify the second number of his 1927 Stravinsky came to write his first major been decisively cast upon the Russians with one almost expects the horn-theme of the ballet Apollon Musagète, which begins with a orchestral work, the well-made symphony was the St Petersburg premiere of the Ring cycle in Firebird finale to break the darkness of solo cadenza and continues as a duet for two the order of the day in Russia. The path 1889), though Stravinsky’s epic statement has tremolo strings right at the end. Lively violins as a kind of tribute to Bach’s Double opened up by the experiments of nothing to do except parade in various celebration comes easily to Stravinsky in the Concerto. The Violin Concerto keeps Bach Tchaikovsky’s Pathétique and Rachmaninov’s orchestral colours, and nowhere to go in the concluding Allegro molto, which never even more in mind – and spirit, too: it is First Symphony turned out to be a dead end, development except proclaim itself ever more outstays its welcome and leaps from one idea typical of Stravinsky’s magpie genius, and the while the late-romantic epic mode favoured by grandly. It is effectively offset by, and later to another with a volatility that the composer intensity of his love for the composers whose Rachmaninov in his return to symphonic form, combined with, a second theme initially given would learn to harness for Petrushka. The style he adopts, that the most consistently and by Glière in his Ilya Muromets Symphony, to the clarinet – Glazunov’s and Rimsky’s sharp accents place Stravinsky in the company Bachian movement, Aria II, should also be the lay in the future. It was Glazunov, decking out favourite candidate for counter-subjects. Only of Borodin rather than Glazunov, although it one to sound the depths with its cantabile attractive thematic ideas with masterly the coda, with a brief flash of jazzy was the latter that Rimsky-Korsakov accused melodies exclusively reserved for the soloist.
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