Showing all posts by fdpbach

In -Interlúdios, -Jazz

.: interlúdio :. Pekka Pohjola – Heavy Jazz

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Pekka Pohjola vem direto das terras geladas da Finlândia nos apresentar um sólido e consistente CD de Fusion, gravado ao vivo, em uma clara referência ao clássico álbum de Jaco Pastorius, “Heavy ´n´ Jazz”. Mas o som de Pohjola não é tão ‘sujo’ quando o de Pastorius, é mais discreto, mais ‘clean” talvez devido ao seu sangue finlandês mesmo. Pastorius sempre tocou como se fosse a última vez em que estivesse empunhando seu Fender Jazz, principalmente nos últimos anos de sua vida, como se já antecipasse sua morte, ocorrida tão precocemente.

Infelizmente, Pohjola também morreu precocemente, aos 56 anos de idade, em 2008, devido a consequências de problemas com o alcoolismo.

Uma curiosidade: Pekka Pohjola era de família de músicos, teve formação em violino e Piano na Academia Sibelius , e também chegou a compor uma Sinfonia, que estreou no final dos anos 80.

A banda que o acompanha é muito competente, e os solos seguem o padrão, discretos, sem nenhuma aula de virtuosismo exacerbado, ou apenas espanadores de cordas, como diria nosso querido PQP Bach.

Se vocês quiserem ouvir algum outro trabalho de estúdio dele, basta pedir. Tenho alguns outros cds dele. Espero que apreciem.

CD 1

01. Relief
02. Pressure
03. Imppu’s Tango
04. Nykiva keskustelu tuntemattoman kanssa
05. Innocent Questions
06. Fanatic Answers

CD 2

01. Benjamin
02. No Way Out
03. Albatross
04. Risto
05. Heavy Jazz

Pekka Pohjola – Bass
Seppo Kantonen – Keyboards
Markku Kanerva – Guitar
Anssi Nykänen – Drums

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Pekka Pohjola (1952-2008)
In Debussy, Claude

Claude Debussy – Images I & II; Suite Bergamasque; Children’s Corner – Seong-Jin Cho

Author fdpbachPosted on 3 Comments

Neste ano em que comemoramos os 100 da morte de Claude Debussy já fizemos diversas postagens em homenagem a esta figura única, que desenvolveu um estilo próprio e revolucionou a escrita para o piano no final do século XX.
A música de Debussy está em muito boas mãos neste CD do jovem pianista sul coreano Seon-ji Cho, primeiro sul coreano a ganhar o “International Chopin Piano Competition”, talvez o mais difícil concurso para novos talentos da atualidade, e o rapaz já foi devidamente cooptado pelo selo alemão Deutsche Grammophon. Uma bela aquisição para o selo, com certeza.
O rapaz encara aqui as dificuldades técnicas desta obras únicas, volto a repetir, e tem de mostrar aquele algo a mais que grandes pianistas do passado já mostraram.
Amamos por demais a “Suite Bergamasque” e sua indefectível “Clair de Lune” para conhecermos seus detalhes, pausas, silêncios, aquilo que tem de ser dito mas não o é. Esse é o segredo da sua interpretação, e que já foi por demais explorado. Monique Haas, Aldo Cicollini, Walter Giesseking, Martha Argerich, entre outros gigantes do piano, já nos mostraram e nos deram sua contribuição. Vamos ver o que a nova geração tem a nos dizer, e garanto que ela está muito bem representada neste CD.

01 – Images I Reflets dans l’eau
02 – Images I Hommage à Rameau
03 – Images I Mouvement
04 – Images II Cloches à travers les feuilles
05 – Images II Et la lune descend sur le temple qui fut
06 – Images II Poissons d’or
07 – Children’s Corner Doctor Gradus Ad Parnassum
08 – Children’s Corner Jimbo’s Lullaby
09 – Children’s Corner Serenade For The Doll
10 – Children’s Corner The Snow Is Dancing
11 – Children’s Corner The Little Shepherd
12 – Children’s Corner Golliwog’s Cakewalk
13 – Suite Bergamasque Prélude
14 – Suite Bergamasque Menuet
15 – Suite Bergamasque Clair de lune
16 – Suite Bergamasque Passepied
17 – L’isle joyeuse

Seong-Jin Cho – Piano

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In Schumann, Robert

Restaurado – Robert Schumann (1810-1854) – 01. Symphony No. 3 in E flat major, Op. 97 ‘Rhenish’, Piano Concerto In A Minor, Op.54 – Justus Franz, Leonard Bernstein, Wiener Philharmoniker

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A magnífica Terceira Sinfonia de Schumann fecha nossa ‘integral’ das sinfonias do grande compositor do romantismo alemão nas mãos de Leonard Bernstein. Considero este CD absolutamente imperdível, o maestro norte americano está por demais inspirado frente à espetacular Filarmônica de Viena. Explora com paixão e emoção todas as nuances da obra, extraindo dela toda a emoção que está inserida em suas notas.

De quebra, além da Sinfonia “Renana” o CD também traz uma belíssima versão do Concerto para Piano, op. 54 que tem o pianista polonês Justus Franz como solista. Lhes garanto a qualidade. Papa finíssima, vale cada minuto de sua audição.

01. Symphony No. 3 in E flat major, Op. 97 ‘Rhenish’, – 1. Lebhaft
02. Symphony No. 3 in E flat major, Op. 97 ‘Rhenish’, – 2. Scherzo (Sehr mäßig)
03. Symphony No. 3 in E flat major, Op. 97 ‘Rhenish’ – 3. Nicht schnell
04. Symphony No. 3 in E flat major, Op. 97 ‘Rhenish’ – 4. Feierlich
06. Piano Concerto In A Minor, Op.54, 1. Allegro affectuoso
07. Piano Concerto In A Minor, Op.54, 2. Intermezzo
08. Piano Concerto In A Minor, Op.54, 3. Allegro vivace

Justus Franz – Piano
Wiener Philharmoniker
Leonard Bernstein – Conductor

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FDP Bach

[restaurado por Vassily em 27/5/2020]

In Schumann, Robert

Restaurado – Robert Schumann (1856-1856) – Symphony nº 2 & Cello Concerto in A Minor – Maisky, Bernstein, WPO

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front MaiskyA Segunda Sinfonia de Schumann não tem para mim a mesma qualidade das outras três que Robert compôs, apesar de bons momentos.

A cereja do bolo desse CD é com certeza o maravilhoso Concerto para Cello, aqui interpretado por Mischa Maisky, um dos grandes nomes do seu instrumento do final do século XX e início deste século XXI. Gravou muito ao lado de Martha Argerich e de Gidon Kremer, e algumas destas gravações já apareceram por aqui em outras postagens. Quando lembro desse Concerto para Cello os nomes que me vem imediatamente à cabeça são os de Jacqueline Du Pré e o de Janos Starker, que realizaram gravações históricas dessa linda peça, que simboliza o apogeu do Romantismo. Maisky não se joga tanto de corpo e alma em sua interpretação quanto os dois citados acima, principalmente Du Pré, sua leitura é mais contida, mais apaixonada, eu diria.

Mas então vamos continuar com essa singela homenagem a Lenny.

01-1 Sostenuto assai-Un poco piu vivace-Allegro
02-2 Scherzo Allegro vivace
03-3 Adagio_espresssivo
04-4 Allegro molto vivace
05-1 Nicht zu schnell
06-2 Langsam
07-3 Sehr lebhaft

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FDP Bach

[restaurado por Vassily em 27/5/2020]

In Schumann, Robert

Restaurado – Robert Schumann (1810-1856) – Symphonies nº 1 e 4 – Bernstein, Wiener Philharmoniker

Author fdpbachPosted on 5 Comments

REPOSTAGEM COM NOVO LINK

Por um equívoco de minha parte, achava que esta gravação já havia sido postada. Desculpem nossa falha. Então para completar a série, as minhas duas sinfonias favoritas de Robert Schumann, a Primeira e a Quarta.

A velha parceria Bernstein / Wiener Philharmoniker continua impecável nesta gravação, seja nos movimentos mais rápidos, seja nos movimentos mais lentos. Coisa de gente grande.

E como o tempo urge, deixo os senhores com essa dupla. Garanto que não vão se arrepender.

Robert Schumann – Symphony nº 1 in B Flat, op. 38, Symphony nº 4, in D Minor, op. 120

01-1 Andante un poco maestoso-Allegro molto
02-2 Larghetto
03-3 Scherzo Molto vivace
04-4 Allegro animato e grazioso
05-1 Ziemlich langsam-Lebhaft
06-2 Romanze Ziemlich langsam
07-3 Scherzo
08-4 Langsam-Lebhaft-Schneller-Presto

Wiener Philharmoniker
Leonard Bernstein – Conductor

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Lenny02

FDP Bach

[restaurado por Vassily em 27/5/2020]

In -Jazz

.: interlúdio :. Itzhak Perlman, Andre Previn, Shelly Manne, Jim Hall, Red Mitchell – A Different Kind of Blues, It´s a Breeze

Author fdpbachPosted on 1 Comment

Estes dois CDs reunidos em um só trazem uma das incursões do grande violinista Itzhak Perlman no Jazz, muito bem acompanhado por sinal por seu amigo de longa data Andre Previn e um fantástico grupo que ainda traz Jim Hall, Shelly Manne e Red Mitchel. Garanto aos senhores que vale a pena conhecer e apreciar. O talento de Perlman é plenamente conhecido e já trouxemos diversos cds seus para atestar isso.
O que ouviremos aqui é um música de alto nível, tocada por músicos de altíssimo nível, sem dúvida alguma. Tenho certeza de que irão gostar.

A DIFFERENT KIND OF BLUES

01. Look at Him Go
02. Little Face
03. Who Reads Reviews
04. Night Thoughts
05. A Different Kind of Blues
06. Chocolate Apricot
07. The Five of Us
08. Make Up Your Mind

Itzhak Perlman – Violin
Andre Previn – Piano
Shelly Manne – Drums
Jim Hall – Guitar
Red Mitchell – Bass

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IT´S A BREEZE

01. It_s A Breeze
02. Rain In My Head
03. Catgut Your Tongue
04. It_s About Time
05. Quiet Diddling
06. A Tune For Heather
07. Bowing and Scraping
08. The Red Bar

Itzhak Perlman – Violin
Andre Previn – Piano
Shelly Manne – Drums
Jim Hall – Guitar
Red Mitchell – Bass

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In Prokofiev, Serguei

Sergei Prokofiev (1891-1953) – Concerto for Piano & Orchestra nº 5 in G Major, Kurt Weill (1900-1950) – Kleine Dreigroschenmusik – John Browning, Boston Symphony Orchestra, Erich Leinsdorf

Author fdpbachPosted on 1 Comment

Devido a um claro esquecimento, faltou ‘apenas’  o Concerto nº 5 na “integral” dos Concertos de Prokofiev que postei há alguns meses com o John Browning, Sinfônica de Boston dirigida pelo Erich Leinsdorf. Um leitor – ouvinte sentiu falta e perguntou: mas cadê o Concerto nº 5 ? Ele não gravou? Gravou, sim, meu caro e atento leitor, o problema é na correria do dia a dia a cabeça da gente não dá conta de tudo, né?
Então aproveite o domingo para ouvir esta magnífica interpretação de um dos maiores concertos para piano já compostos.
Ah, de quebra, os senhores vão ter o prazer de ouvir em primeira mão aqui no PQPBach, uma versão para Orquestra de Sopros de outra obra prima do século XX, a “Ópera dos Três Vinténs” do Kurt Weill. É mole, ou querem mais?

01. Piano Concerto No. 5 in G major, Op. 55 – I. Allegro con brio
02. II. Moderato ben accentuato
03. III. Toccata Allegro con fuoco (più presto che la prima volta)
04. IV. Larghetto
05. V. Vivo

John Browning – Piano
Boston Symphony Orchestra
Erich Leinsdorf – Conductor

06. Suite from The Threepenny Opera – I. Overture
07. II. The Ballad of Mack the Knife
08. III. Instead-of-Song
09. IV. The Ballad of Pleasant Living
10. V. Polly’s Song
11. VI. Tango-Ballade
12. VII. Cannon Song
13. VIII. The Threepenny Finale

Boston Symphony Orchestra
Erich Leinsdorf – Conductor

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In Schumann, Robert

Restaurado – Robert Schumann (1810-1856) – The Symphonies – Chamber Orchestra of Europe, Yanick Nézet-Seguin

Author fdpbachPosted on 4 Comments

Parece haver uma tendência entre a nova geração de maestros em interpretar estes grandes monumentos sinfônicos em orquestras menores. É o caso desta integral de Schumann com o jovem e talentoso maestro canadense Yanick Nézet-Seguin, e com Robin Ticciati & Scottish Chamber Orchestra, que recém gravou a integral das Sinfonias de Brahms dentro desta mesma proposta, e que trarei na sequência.
Acostumado que estou (ou estamos, falando em nome de todos os que amam estas obras) com  os grandes grupos orquestrais, soa no mínimo estranho estas escolhas. Mas estamos no século XXI, e temos duas opções: ou gostamos, e nos adaptamos, acreditando ser uma ‘moda passageira’, ou odiamos, os ignoramos e voltamos para nossos standards, leia-se Karajan, Bernstein, Sawalisch, Masur, entre tantos outros que gravaram estas mesmas obras em registros memoráveis.
Ainda não tenho uma opinião formada, admito. Meu cérebro precisa ainda se adaptar à sonoridade, precisa assimilar esta novidade.  Deixo ao critério dos senhores analisarem e tirarem suas conclusões. De qualquer maneira, é música de gente grande tocada por gente grande. Aliás, deixo em anexo ao arquivo compactado o libreto, com um belo e elucidativo texto do próprio Yanick Nézet-Seguin, explicando suas escolhas. Portanto, mais um elemento que vai ajudar os senhores a tirarem suas conclusões. Ou não.

CD 1

1. Symphony No.1 In B Flat, Op.38 – Spring – 1. Andante un poco maestoso – Allegro molto vivace
2. Symphony No.1 In B Flat, Op.38 – Spring – 2. Larghetto
3. Symphony No.1 In B Flat, Op.38 – Spring – 3. Scherzo (Molto vivace)
4. Symphony No.1 In B Flat, Op.38 – Spring – 4. Allegro animato e grazioso
5. Symphony No.4 In D Minor, Op.120 – 1. Ziemlich langsam – Lebhaft
6. Symphony No.4 In D Minor, Op.120 – 2. Romanze (Ziemlich langsam)
7. Symphony No.4 In D Minor, Op.120 – 3. Scherzo
8. Symphony No.4 In D Minor, Op.120 – 4. Langsam – Lebhaft – Schneller – Presto

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CD 2

9. Symphony No.2 In C, Op.61 – 1. Sostenuto assai – Un poco piu vivace – Allegro ma non troppo – Con fuoco
10. Symphony No.2 In C, Op.61 – 2. Scherzo (Allegro vivace)
11. Symphony No.2 In C, Op.61 – 3. Adagio espresssivo
12. Symphony No.2 In C, Op.61 – 4. Allegro molto vivace
13. Symphony No.3 In E Flat, Op.97 – Rhenish – 1. Lebhaft
14. Symphony No.3 In E Flat, Op.97 – Rhenish – 2. Scherzo (Sehr maig)
15. Symphony No.3 In E Flat, Op.97 – Rhenish – 3. Nicht schnell
16. Symphony No.3 In E Flat, Op.97 – Rhenish – 4. Feierlich
17. Symphony No.3 In E Flat, Op.97 – Rhenish – 5. Lebhaft

Chamber Orchestra of Europe
Yannick Nézet-Séguin – Conductor

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[revalidado por Vassily em 26/5/2020 e em 28/1/2023]

In Tchaikovsky, Piotr Ilitch

Pyotr Ilyich Tchaikovsky (1840-1893) – Ballet “The Nutcracker, Op.71” – Ernest Ansermet & Orchestre de la Suisse Romande

Author fdpbachPosted on 1 Comment

“After Tchaikovsky’s qualified success with The Sleeping Beauty, in February 1891 he was invited to compose the music for a new ballet. The scenario was based on Alexandre Dumas père’s adaptation of a story by the German writer E.T.A. Hoffmann, Nussknacker und Mausekönig. From the outset, The Nutcracker had its critics, none more trenchant than the composer himself. He wrote to his beloved nephew, Vladimir (Bob) Davydov on 7 July: ‘…I finished the sketches of the ballet yesterday. You will remember that I boasted to you when you were here that I could finish the ballet in five days, but I have scarcely finished it in a fortnight. No, the old man is breaking up … he loses bit by bit the capacity to do anything at all. The ballet is infinitely worse than Sleeping Beauty – so much is certain … If I arrive at the conclusion that I can no longer furnish my musical table with anything but warmed up fare, I will give up composing altogether.’
At its St. Petersburg première on [6 December] 18 December 1892 The Nutcracker formed half of a double bill with the darker operatic component, Iolanta, generally thought superior. Posterity has reversed this judgement. It is true that hardly any story survives in the ballet’s voyage from the (mimed) semi-reality of an idealized family Christmas to the land of eternal sweetmeats (and nothing but virtuoso dancing). Yet the score itself is brilliantly alive with no hint of time-serving tinsel. Tchaikovsky’s exploitation of his unmatched gift for melody was never more audacious.
The miniature overture opening the work sets the fairy mood by employing only the orchestra’s upper registers. The first act is divided into two scenes. It is Christmas Eve and little Clara is playing with her toys. At midnight they come to life. Led by the Nutcracker, her special present, they overwhelm some marauding mice, after which he is transformed into a Prince. Clara and her Prince travel through a snowy landscape where they are greeted by waltzing snowflakes. Ivanov’s original choreography, in which the dancers evoked the movements of windswept snow, was much admired by the cognoscenti who climbed up to the cheaper seats in order to appreciate the patterns created.
In Act 2 the Sugar Plum Fairy and the people of the Land of Sweets proffer a lavish gala of character dances. There follows a magnificent pas de deux for the Prince and the Sugar Plum Fairy, the latter’s own variation realising the composer’s desire to showcase the celesta, a new instrument he had heard in Paris. Its unique timbre is here famously complemented by little downward swoops from the bass clarinet. Elsewhere Tchaikovsky incorporates several children’s instruments including a rattle, pop-gun, toy trumpet and
miniature drum. After the festivities Clara wakes up under the Christmas tree, the Nutcracker toy in her arms, although, in some versions she rides off with her Nutcracker Prince as if the dream has happened in reality q.v. Hoffmann’s original story.
Radical modern interpretations include Mark Morris’s The Hard Nut (1991), set in the Swinging Sixties but faithful to the original score, and Donald Byrd’s Harlem Nutcracker (1996), danced to Duke Ellington’s jazz adaptation and set in an African-American household where Clara, the little girl, has become clan matriarch. That Tchaikovsky’s invention should present such riches to plunder, given the slight, somewhat incongruous scenario with which he had to work, says much about the nature of his genius.”
C David Gutman, 2010

CD 16

01. The Nutcracker, Op.71 – a. Miniature Overture
02. The Nutcracker, Op.71 – b. Act I; N.1 – The Decoration Of The Christmas Tree
03. The Nutcracker, Op.71 – c. Act I; N.2 – March
04. The Nutcracker, Op.71 – d. Act I; N.3 – Children’s Galop & Entry Of The Parents
05. The Nutcracker, Op.71 – e. Act I; N.4 – Arrival Of Drosselmeyer
06. The Nutcracker, Op.71 – f. Act I; N.5 – Grandfather’s Dance
07. The Nutcracker, Op.71 – g. Act I; N.6 – Scene. Clara And The Nutcracker
08. The Nutcracker, Op.71 – h. Act I; N.7 – Scene. The Battle
09. The Nutcracker, Op.71 – i. Act I; N.8 – Scene. In The Pine Forest
10. The Nutcracker, Op.71 – j. Act I; N.9 – Waltz Of The Snowflakes
11. The Nutcracker, Op.71 – k. Act II; N.10 – Scene. The Kingdom Of Sweets
12. The Nutcracker, Op.71 – l. Act II; N.11 – Scene. Clara And The Prince
13. The Nutcracker, Op.71 – m. Act II; N.12-a – Divertissement. Chocolate–Spanish Dance
14. The Nutcracker, Op.71 – n. Act II; N.12-b – Divertissement. Coffee–Arabian Dance
15. The Nutcracker, Op.71 – o. Act II; N.12-c – Divertissement. Tea–Chinese Dance
16. The Nutcracker, Op.71 – p. Act II; N.12-d – Divertissement. Trepak–Russian Dance
17. The Nutcracker, Op.71 – q. Act II; N.12-e – Divertissement. Dance Of The Reed Pipes
18. The Nutcracker, Op.71 – r. Act II; N.12-f – Divertissment. Mother Gigogne
19. The Nutcracker, Op.71 – s. Act II; N.13 – Waltz Of The Flowers

CD 17

01. The Nutcracker, Op.71 – t. Act II; N.14 – Pas de Deux
02. The Nutcracker, Op.71 – u. Act II; N.14-a – Pas de Deux–Variation I. Tarantella
03. The Nutcracker, Op.71 – v. Act II; N.14-b – Pas de Deux–Variation II. Dance Of The Sugar-Plum Fairy
04. The Nutcracker, Op.71 – w. Act II; N.14-c – Pas de Deux–Coda
05. The Nutcracker, Op.71 – x. Act II; No.15 – Final Waltz & Apotheosis
06. Orchestral Suite No. 3 in G major, Op.55 – I. Elégie
07. Orchestral Suite No. 3 in G major, Op.55 – II. Valse mélancolique
08. Orchestral Suite No. 3 in G major, Op.55 – III. Scherzo
09. Orchestral Suite No. 3 in G major, Op.55 – IV. Thème et Variations
10. Orchestral Suite No. 4 in G major, ‘Mozartiana’, Op.61 – I. Gigue
11. Orchestral Suite No. 4 in G major, ‘Mozartiana’, Op.61 – II. Menuet
12. Orchestral Suite No. 4 in G major, ‘Mozartiana’, Op.61 – III. Preghiera
13. Orchestral Suite No. 4 in G major, ‘Mozartiana’, Op.61 – IV. Thème et Variations

Orchestre de la Suisse Romande
Ernest Ansermet – Conductor

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CD 17 – BAIXE AQUI – DOWNLOAD HERE

In Tchaikovsky, Piotr Ilitch

Pyotr Ilyich Tchaikovsky (1840-1893) – Ballet ‘Sleeping Beauty’, Op.66 – Ernest Ansermet, Orchestre de la Suisse Romande

Author fdpbachPosted on 1 Comment

“The Sleeping Beauty was adapted from Charles Perrault’s well-known fairy story, La Belle au bois dormant (1697). Tchaikovsky took special pains over the orchestration, achieving an unprecedented precision of effect, assisted by his recent experiences as a conductor. The story goes that at the gala rehearsal before the Maryinsky première which took place on [3 January] / 15 January 1890, the grandeur and novelty of the conception left Tsar Alexander III bemused. He summoned up only a lukewarm ‘Very nice!’ when the composer was called to the royal box. ‘His majesty treated me with distant hauteur’ noted the composer in his diary.
The ballet’s prologue depicting the christening of the baby Princess Aurora contains a variation for each of the six fairies come to bestow gifts upon the infant. In the midst of the excitement the wicked fairy, Carabosse, casts a spell over Aurora, promising that she will prick her finger and die. Intervening to save her, the Lilac Fairy (originally played by Petipa’s daughter, Marie) mitigates the curse from death to sleep. Many years later the royal family is celebrating Aurora’s birthday. The choreographic highpoint is the Adagio maestoso or ‘Rose’ Adagio which she dances with her princely suitors, the steps revealing her growing confidence. Since her christening the King has attempted to ban all sharp objects from the kingdom but when a disguised Carabosse presents Aurora with a spindle, sometimes a bouquet of flowers or a beautiful tapestry with embedded needle, she pricks her finger and she and the court fall deeply asleep.
One hundred years later in a dark forest a Prince is hunting with his friends. The Lilac Fairy conjures up an irresistible apparition of Aurora and he instantly falls in love. Led to the castle to rescue her and put an end to the evil Carabosse, one kiss and the spell is broken. Princess Aurora and her entire family awaken from their slumber and the couple’s wedding is celebrated in Act 3 with a divertissement involving a cornucopia of fairytale characters including Puss in Boots, Cinderella, the Bluebird, Little Red Riding Hood and Tom Thumb. In the grand pas de deux Aurora is presented musically and choreographically as a woman in full bloom, rejoicing in true love. Initially performed abroad in abbreviated form, Diaghilev and his Ballets Russes brought the first full-length Sleeping Beauty to the UK in 1921. The countless stagings since have tended to remain close to the Russian original rather than imparting layers of psychological meaning.”

CD 14

01. Ballet, ‘Sleeping Beauty’, Op.66 – a. Introduction (Allegro vivo; andantino); Prologue–The Christening. N.1; March (moderato)
02. Ballet, ‘Sleeping Beauty’, Op.66 – b. Prologue–The Christening; N.2; Dance Scene (moderato con moto)
03. Ballet, ‘Sleeping Beauty’, Op.66 – c. Prologue–The Christening; N.3-a; Pas de six. Introduction; adagio
04. Ballet, ‘Sleeping Beauty’, Op.66 – d. Prologue–The Christening; N.3-b; Pas de six. Var.I–Fairy Of The Crystal Fountain (allegro moderato)
05. Ballet, ‘Sleeping Beauty’, Op.66 – e. Prologue–The Christening; N.3-c; Pas de six. Var.II–Fairy Of The Enchanted Garden (allegro)
06. Ballet, ‘Sleeping Beauty’, Op.66 – f. Prologue–The Christening; N.3-d; Pas de six. Var.III–Fairy Of The Woodland Glades (allegro moderato)
07. Ballet, ‘Sleeping Beauty’, Op.66 – g. Prologue–The Christening; N.3-e; Pas de six. Var.IV–Fairy Of The Songbirds (moderato)
08. Ballet, ‘Sleeping Beauty’, Op.66 – h. Prologue–The Christening; N.3-f; Pas de six. Var.V–Fairy Of The Golden Vine (allegro molto vivace)
09. Ballet, ‘Sleeping Beauty’, Op.66 – i. Prologue–The Christening; N.3-g; Pas de six. Var.VI–Lilac Fairy (Tempo di valse)
10. Ballet, ‘Sleeping Beauty’, Op.66 – j. Prologue–The Christening; N.3-h; Pas de six. Coda (Allegro giusto)
11. Ballet, ‘Sleeping Beauty’, Op.66 – k. Prologue–The Christening; N.4; Finale
12. Ballet, ‘Sleeping Beauty’, Op.66 – l. Act I–The Spell; N.5; Scene (allegro vivo; moderato)
13. Ballet, ‘Sleeping Beauty’, Op.66 – m. Act I–The Spell; N.6; Waltz (Allegro. Tempo di Valse)
14. Ballet, ‘Sleeping Beauty’, Op.66 – n. Act I–The Spell; N.7; Scene (Andante)
15. Ballet, ‘Sleeping Beauty’, Op.66 – o. Act I–The Spell; N.8-a; Pas d’action. Rose Adagio (andante; adagio maestoso)
16. Ballet, ‘Sleeping Beauty’, Op.66 – p. Act I–The Spell; N.8-b; Pas d’action. Dance Of The Maids Of Honour & Pages
17. Ballet, ‘Sleeping Beauty’, Op.66 – q. Act I–The Spell; N.8-c; Pas d’action. Aurora’s Variation
18. Ballet, ‘Sleeping Beauty’, Op.66 – r. Act I–The Spell; N.8-d; Pas d’action. Coda (allegro giusto)
19. Ballet, ‘Sleeping Beauty’, Op.66 – s. Act I–The Spell; N.9; Finale

CD 15

01. Ballet, ‘Sleeping Beauty’, Op.66 – t. Act II–The Vision; N.10; Entr’acte & Scene (Allegro con spirito; un poco più tranquillo)
02. Ballet, ‘Sleeping Beauty’, Op.66 – u. Act II–The Vision; N.11; Blind Man’s Bluff (Allegro vivo)
03. Ballet, ‘Sleeping Beauty’, Op.66 – v. Act II–The Vision; N.12-a; Scene. Dances Of The Courtiers
04. Ballet, ‘Sleeping Beauty’, Op.66 – w. Act II–The Vision; N.12-c; Dance Of The Duchesses (Minuet. Moderato con moto)
05. Ballet, ‘Sleeping Beauty’, Op.66 – x. Act II–The Vision; N.12-d. Dance Of The Baronesses (Gavotte)
06. Ballet, ‘Sleeping Beauty’, Op.66 – y. Act II–The Vision; N.12-e; Dance Of The Countesses (Allegro non troppo)
07. Ballet, ‘Sleeping Beauty’, Op.66 – z. Act II–The Vision; N.12-f; Dance Of The Marchionesses (Allegro non troppo)
08. Ballet, ‘Sleeping Beauty’, Op.66 – z-a. Act II–The Vision; N.13; Farandole. Scene (Poco più vivo); Dance (Allegro non troppo)
09. Ballet, ‘Sleeping Beauty’, Op.66 – z-b. Act II–The Vision; N.14; Scene. Prince Florimund & The Lilac Fairy
10. Ballet, ‘Sleeping Beauty’, Op.66 – z-c. Act II–The Vision; N.15-a; Pas d’action. Aurora & Florimund (Andante cantabile)
11. Ballet, ‘Sleeping Beauty’, Op.66 – z-d. Act II–The Vision; N.15-b; Pas d’action. Aurora’s Variation (Allegro con moto)
12. Ballet, ‘Sleeping Beauty’, Op.66 – z-e. Act II–The Vision; N.15-c; Pas d’action. Coda (Presto)
13. Ballet, ‘Sleeping Beauty’, Op.66 – z-f. Act II–The Vision; N.16; Scene (Allegro agitato)
14. Ballet, ‘Sleeping Beauty’, Op.66 – z-g. Act II–The Vision; N.17; Panorama (Andantino)
15. Ballet, ‘Sleeping Beauty’, Op.66 – z-h. Act II–The Vision; N.19-20; Symphonic Entr’acte (The Sleep); Scene (Andante misterioso); Finale. The Awakening (Allegro agitato)
16. Ballet, ‘Sleeping Beauty’, Op.66 – z-i. Act III–The Wedding; N.21; March (Allegro non troppo)
17. Ballet, ‘Sleeping Beauty’, Op.66 – z-j. Act III–The Wedding; N.22; Polonaise. Procession Of The Fairy-Tale Characters (Allegro moderato e brillante)
18. Ballet, ‘Sleeping Beauty’, Op.66 – z-k. Act III-The Wedding; N.23-a; Pas de quatre. Introduction (Allegro non tanto)
19. Ballet, ‘Sleeping Beauty’, Op.66 – z-l. Act III-The Wedding; N.23-b. Pas de quatre. Var.I–The Golden Fairy (Allegro. Tempo di Valse)
20. Ballet, ‘Sleeping Beauty’, Op.66 – z-m. Act III-The Wedding; N.23-c. Pas de quatre. Var.II–The Silver Fairy (Allegro giusto)
21. Ballet, ‘Sleeping Beauty’, Op.66 – z-n. Act III–The Wedding; N.23-d; Pas de quatre. Var.IV–The Diamond Fairy (Vivace); Coda (L’istesso tempo)
22. Ballet, ‘Sleeping Beauty’, Op.66 – z-o. Act III–The Wedding; N.24; Pas de caractère. Puss-in-Boots & The White Cat (Allegro moderato)
23. Ballet, ‘Sleeping Beauty’, Op.66 – z-p. Act III–The Wedding; N.25-a; Pas de quatre. Introduction (Adagio)
24. Ballet, ‘Sleeping Beauty’, Op.66 – z-q. Act III–The Wedding; N.25-b. Pas de quatre. Var.I–Cinderella & Prince Charming (Allegro. Tempo di Valse)
25. Ballet, ‘Sleeping Beauty’, Op.66 – z-r. Act III–The Wedding; N.25-c; Pas de quatre. Var.II–The Bluebird & Princess Florine (Andantino)
26. Ballet, ‘Sleeping Beauty’, Op.66 – z-s. Act III–The Wedding; N.25-d; Pas de quatre. Coda (Presto)
27. Ballet, ‘Sleeping Beauty’, Op.66 – z-t. Act III–The Wedding; N.26; Pas de caractère. Red Riding Hood & The Wolf (Allegro moderato)
28. Ballet, ‘Sleeping Beauty’, Op.66 – z-u. Act III–The Wedding; N.27-a; Tom Thumb (Allegro agitato; tempo di Valse; vivace assai)
29. Ballet, ‘Sleeping Beauty’, Op.66 – z-v. Act III–The Wedding; N.27-b; Cinderella & Prince Fortune
30. Ballet, ‘Sleeping Beauty’, Op.66 – z-w. Act III–The Wedding; N.28-a; Pas de deux (Aurora & Florimund). Entrée (Allegretto; allegro moderato); Adagio (Andante non troppo)
31. Ballet, ‘Sleeping Beauty’, Op.66 – z-x. Act III–The Wedding; N.28-b; Pas de deux (Aurora & Florimund). Var.I–Florimund (Vivace; prestissimo)
32. Ballet, ‘Sleeping Beauty’, Op.66 – z-y. Act III–The Wedding; N.28-c; Pas de deux (Aurora & Florimund). Var.II–Aurora (Andantino)
33. Ballet, ‘Sleeping Beauty’, Op.66 – z-z. Act III–The Wedding; N.28-d; Pas de deux (Aurora & Florimund). Coda (Allegro vivace)
34. Ballet, ‘Sleeping Beauty’, Op.66 – z-z-a. Act III–The Wedding; N.29; Sarabande
35. Ballet, ‘Sleeping Beauty’, Op.66 – z-z-b. Act III–The Wedding; N.30-a; Finale (Allegro brillante. Tempo di Mazurka)–
36. Ballet, ‘Sleeping Beauty’, Op.66 – z-z-c. Act III–The Wedding; N.30-b; Apotheosis. Andante molto maestoso

Orchestre de la Suisse Romande
Ernest Ansermet – Conductor

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In Tchaikovsky, Piotr Ilitch

Pyotr Ilyich Tchaikovsky (1840-1893) – Ballet, ‘Swan Lake’ – Ernest Ansermet & Orchestre de la Suisse Romande

Author fdpbachPosted on 2 Comments

According to his brother Modest, Pyotr Ilyich Tchaikovsky, much drawn to ballet in his youth, was fond of imitating the dancers and could do so proficiently. As late as 1875, when Camille Saint-Saëns was making his Moscow debut as composer, pianist and conductor, the two men were reportedly to be found larking about on the stage of the conservatoire performing a little ‘Galatea and Pygmalion’ ballet together with Nikolay Rubinstein at the piano. However the mature composer would have been surprised to find himself held up as a key figure in the history of classical dance. (Closer to our own time, Sergey Sergeyevich Prokofiev likewise preferred to think of himself as a purveyor of opera, notwithstanding Serge Diaghilev’s outspoken views and his own successes with full-length ballets in the Tchaikovsky tradition.)
It is hardly surprising that early spectators of Tchaikovsky’s Swan Lake (1875–76), accustomed to the subservient scores of Cesare Pugni (1802-1870) and Ludwig Minkus (1826–1917), should have felt puzzled by its symphonic proportions and depth of feeling. Only two orchestral rehearsals and a poor production scarcely helped. Even The Sleeping Beauty (1888–89), one of Tchaikovsky’s great masterpieces, staged with
the resources of the Imperial Ballet in St Petersburg, enjoyed only a succès d’estime during his lifetime. His last work in the form, the two-act Nutcracker (1891–92), secured its popular reputation through the pre release of a suite showcasing its glittering themes.
Tchaikovsky’s balletic significance became much more obvious after his death, part of a process that saw the form perfected and renewed by such practitioners as the French-born choreographer Marius Petipa (1818–1910) and the Russian Mikhail Fokine (1880–1942). The Sleeping Beauty was commissioned by Ivan Vsevolozhsky (1835–1909), then Director of the Imperial Theatres, who had abolished the post of staff ballet composer with a view to engaging musicians of greater distinction. The scenario and designs were prepared by Vsevolozhsky while Petipa mapped out the sequence of dances. Without subverting traditional imperatives of clarity, harmony, symmetry and order, the bold invention and perfect alignment of music and choreography had the capacity to affect audiences in a new way. Tchaikovsky’s three mature ballets were chiefly responsible for this generic transformation, for all that he once described Swan Lake as ‘poor stuff compared with [Delibes’s] Sylvia.’
Public acclaim notwithstanding, many academic commentators have found Tchaikovsky an uncomfortable figure whose symphonic music could be stigmatized as ‘balletic’ as if that epithet in some way invalidated it. With the effortless extension of a single melodic line held to be in some way suspect – although Tchaikovsky’s tunes can run the gamut from elegance and charm to uninhibited eroticism and passion – it proved easy to overlook the incredible craftsmanship of the ballets, their mastery of form, harmony, momentum and orchestration. Tchaikovsky is rarely given credit for the discipline and professionalism of his creative life. Whatever the propensity within to violent agitation, he delivered on time and was quite prepared to submit to the exacting and precise demands of his collaborators. The expressive certainty of his invention has allowed more recent choreographers to experiment with stance and movement, often radically, confident that a firm musical narrative is permanently encoded in the notes.

CD 12

a. Introduction-N.1; Moderato assai–Scène. Allegro giusto
b. N.2; Waltz. Tempo di Valse
c. N.4; Pas de trois. Intrada (allegro); andante; sostenuto; allegro semplice; presto; moderato; allegro; Coda (allegro vivace)
d. N.7-8; Subject; Dance With The Goblets (Tempo di Polacca)
e. N.10; Scene (Moderato)
f. N.11-12; Scene (Allegro moderato; allegro vivo); Scene (Allegro)
g. N.13. Dances Of The Swans–I. Tempo di Valse
h. N.13; Dances Of The Swans–V. Pas d’action. Odette et le Pince (Andante)
i. N.13; Dances Of The Swans–IV. Danse des petits cygnes (Allegro moderato)
j. N.13; Dances Of The Swans–VI. Danse générale (Valse)
k. N.13; Dances Of The Swans–II. Odette solo (Moderato assai)
l. N.13; Dances Of The Swans–VII. Coda (Allegro vivace)
m. N.15; Scene. Allegro giusto
n. N.17; Scene. Entrance & Waltz Of The Special Guests (Allegro; tempo di valse)
o. N.18; Scene. Allegro; allegro giusto
p. N.21; Spanish Dance (Allegro non troppo. Tempo di Bolero)
q. N.22; Neapolitan Dance (Allegro moderato; andantino quasi moderato)
r. N.23; Mazurka
s. N.20; Danse hongroise (Czárdás)
t. N.5; Pas de deux. Intrada; Valse; Andante; Valse; Coda (allegro molto vivace)

CD 13

01. u. N.28; Scene (Allegro agitato; allegro vivace)
02. v. N.29; Finale. Andante; allegro agitato; alla breve; moderato e maestoso

03. Variations on a Rococo Theme for Cello & Orchestra (abridged by Wilhelm Fitzenhagen), Op.33
04. Symphony No. 6 in B minor, ‘Pathétique’, Op.74 – I. Adagio; allegro non troppo
05. Symphony No. 6 in B minor, ‘Pathétique’, Op.74 – II. Allegro con grazia
06. Symphony No. 6 in B minor, ‘Pathétique’, Op.74 – III. Allegro molto vivace
07. Symphony No. 6 in B minor, ‘Pathétique’, Op.74 – IV. Finale. Adagio lamentoso; andante

Orchestre de la Suisse Romande
Ernest Ansermet – Conductor

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In Prokofiev, Serguei, Stravinsky, Igor

Sergei Prokofiev (1891-1953) – Violin Concertos nº 1 & 2, Igor Stravinsky (1882-1971) – Violin Concerto in D Major – David Oistrakh, Berliner-Sinfonie Orchester, Kurt Sanderling

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David Oistrakh empunha novamente seu Stradivarius e nos traz três petardos do repertório do violino do século XX. Nem preciso dizer que vale cada minuto da audição deste CD. Oistrakh era um especialista nestes concertos, tendo realizado gravações históricas e imperdíveis dos mesmos.

Sergei Prokofiev (1891-1953) – Violin Concertos nº 1 & 2, Igor Stravinsky (1882-1971) – Violin Concerto in D Major – David Oistrakh, Berliner-Sinfonie Orchester, Kurt Sanderling

1. Prokofieff Violinkonzert Nr. 1. I. Andantino
2. II. Scherzo. Vivacissimo
3. III. Moderato
4. Violinkonzert Nr. 2. I. Allegro moderato
5. II. Andante assai
6. III. Allegro, ben marcato
7. Strawinsky Konzert in D-dur. I. Toccata
8. II. Aria 1
9. III. Aria 2
10. IV. Capriccio

David Oistrakh – Violin
Berliner Sinfonie-Orchester
Kurt Sanderling – Conductor

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In Shostakovich, Dmitri

Dmitri Shostakovich (1905-1975): Sinfonia nº 10 – David Oistrakh, Berliner-Sinfonie Orchester

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Este Cd é uma grata surpresa, quando podemos ouvir o grande David Oistrakh regendo a Décima Sinfonia de Shostakovich. Claro que não foi a primeira incursão do violinista frente à orquestra, lembro de suas gravações dos concertos de Mozart e de Bach. Maiores informações sobre a Sinfonia sugiro procurarem postagens anteriores da obra, está tudo lá.

Dmitri Shostakovich (1905-1975): Sinfonia nº 10 – David Oistrakh, Berliner-Sinfonie Orchester

1. Dmitri Shostakovich – Symphonie No.10 en mi mineur Op.93 – 1. Moderato
2. Dmitri Shostakovich – Symphonie No.10 en mi mineur Op.93 – 2. Allegro
3. Dmitri Shostakovich – Symphonie No.10 en mi mineur Op.93 – 3. Allegretto
4. Dmitri Shostakovich – Symphonie No.10 en mi mineur Op.93 – 4. Andante – Allegro

Berliner Sinfonier-Orchester
David Oistrakh – Conductor

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In Shostakovich, Dmitri

Dmitri Shostakovich (1906-1975) – Violinkonzert nr. 1 in a-moll op. 99, Sinfonie nº5 in d-moll, op 47 – Oistrakh, Sanderling,

Author fdpbachPosted on 3 Comments

Baita gravação de 1966, com duas lendas do século XX, Igor Oistrakh, filho David Oistrakh, o maior dos violinistas russos, e o regente alemão Kurt Sanderling. O repertório não poderia ser diferente: Shostakovich.
Já nos foi apresentada diversas vezes aqui no PQPBach a relação entre Oistrakh e Shostakovich, por isso não irei tecer maiores comentários sobre o assunto. Nosso guru, PQPBach, já esclareceu. Mas vou me arriscar a trazer alguns dados biográficos sobre o maestro Kurt Sanderling, que creio que apareceu pouco por aqui. Vamos lá.
Nasceu em 1912 na então Prússia Oriental, região hoje pertencente a Polônia. Por sua descendência não ariana, perdeu sua cidadania alemã em 1935, e conseguiu visto na União Soviética, assim como outros alemães judeus. Já vinha estudando regência em Berlim, e em pouco tempo conseguiu se tornar Condutor Chefe da Orquestra da Radio de Moscou e posteriormente da poderosa Filarmônica de Leningrado. Retornou á Alemanhã em 1960 onde tornou-se regente da Sinfônica de Berlim e da Staatskapelle Dresden. Foi além disso, maestro assistente de um dos maiores maestros do periodo soviético, Yevgeny Mravinsky. Ainda nos anos 40 tornou-se grande amigo de Shostakovich. Veio a falecer em 2011, um dia antes de completar 99 anos.
Esta gravação que ora vos trago foi realizada em 10 de março de 1966, quando este que vos escreve recém tinha completado um ano de idade. Igor Oistrakh, filho de David Oistrakh, faz uma interpretação vigorosa do Primeiro Concerto para Violino de Shostakovich. Filho de peixe, peixinho é, como diz o ditado. Nem preciso dizer que trata-se de gravação histórica, lançada pelo selo Harmonia Mundi lá em 2002, mas que apenas recentemente chegou-me em mãos.
Completa o CD a magnífica Quinta Sinfonia do mesmo Shostakovich. Em outras palavras, material histórico, absolutamente imperdível.
Não sei o porque, mas esta me pareceu a trilha sonora ideal para este sombrio e chuvoso dia de eleições.

Shostakovich:  Violinkonzert Nr. 1 In E-Moll Op. 99 & Sinfonie Nr. 5 In D-Moll Op. 47

1. Violin Concerto No.1 in A minor, op.99 (I. Oistrakh on Violin, 66.10.3) – I. Nocturne Moderato
2. Violin Concerto No.1 in A minor, op.99 (I. Oistrakh on Violin, 66.10.3) – II. Scherzo Allegro
3. Violin Concerto No.1 in A minor, op.99 (I. Oistrakh on Violin, 66.10.3) – III. Passacaglia Andante
4. Violin Concerto No.1 in A minor, op.99 (I. Oistrakh on Violin, 66.10.3) – IV. Burlesque Allegro con brio
5. Symphony No.5 in D minor, op.47 (66.10.3) – I. Moderato – Allgro con troppo – Largamente – Moderato
6. Symphony No.5 in D minor, op.47 (66.10.3) – II. Allegretto
7. Symphony No.5 in D minor, op.47 (66.10.3) – III. Largo
8. Symphony No.5 in D minor, op.47 (66.10.3) – IV. Allegro non troppo

Igor Oistrakh – Violin
Berliner Sinfonie-Orchester
Kurt Sanderling – Conductor

Gravações ao vivo, 1966

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Shostakovich: Sinfonie Nr. 5 In D-Moll Op. 47

01. Symphony No. 5 in D Minor, Op. 47: I. Moderato – Allegro non troppo
02. Symphony No. 5 in D Minor, Op. 47: II. Allegro
03. Symphony No. 5 in D Minor, Op. 47: III. Largo
04. Symphony No. 5 in D Minor, Op. 47: IV. Allegro non troppo

Berliner Sinfonie-Orchester

Kurt Sanderling

Gravação de 1982

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Links restabelecidos por René Denon

In Tchaikovsky, Piotr Ilitch

Pyotr Ilyich Tchaikovsky (1840-1893) – Orchestral Suites – Neville Marriner, Radio-Sinfonieorchester Stuttgart

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Orchestral Suite No.1 in D minor Op.43 (1878–9)

‘A Suite in the style of Lachner’, who published seven (1861–81), composed in Russia and Italy. Inscribed cryptically to *** – Tchaikovsky’s patroness in absentia Nadezhda von Meck – it dates from the period of The Maid of Orleans and the premieres of Eugene Onegin and the Liturgy of St John Chrysostom. Nikolai Rubinstein directed the first performance in Moscow, 8/20 December 1879. ‘On Saturday, the Suite was played with great success,’ reported Tchaikovsky’s publisher, Pyotr Jurgenson. ‘The [fugal] first movement did not arouse any particular enthusiasm on the part of the audience. The second [B flat major – written last, in August 1879] was liked. The Andante pleased very much, and the March [A major – which Tchaikovsky had wanted to discard on grounds of ‘doubtful merit’] drew applause which wouldn’t stop until it was repeated. The Scherzo [B flat major] was very well received. But by the time the Gavotte was played, interest flagged and the one thought in the mind of the audience was to leave as soon as possible. Rubinstein complained of the tremendous difficulties presented to the orchestra.’
‘Rooted primarily in the decorative world of the ballet divertissement [incidental scores, too, The Snow Maiden for instance] not concerned with major expressive issues’ (David Brown), the D minor Suite is finer than many commentators would lead us to believe, particularly in the hands of a committed champion like Gauk (or, later, Svetlanov). Typically, its orchestration, including triangle and glockenspiel, transforms simple ideas and cadences into an atmospheric carnival of costumes and ‘lighting’ angles.

Orchestral Suite No.2 in C Op.53 ‘Suite caractéristique’ (1883)

Dedicated to Tchaikovsky’s sister-in-law, Praskovya (who lived until 1956), this was first heard under Erdmannsdörfer in Moscow, 4/16 February 1884. Tchaikovsky himself directed the Petersburg premiere, 5/17 March 1887. To von Meck he generalised the genre: ‘for some time [the suite form has] been particularly attractive to me because of the freedom it affords the composer not to be inhibited by any
traditions, by conventional met hods and established rules’ (16/28 April 1884). Of the four examples he put together, the first three glow in vibrant images, eternal phrases (did Tchaikovsky ever write a bad tune?), and intricately detailed orchestral glamour/surprise.
Orbiting the note E (pivotally linking the keys of the five moments), No.2, as Tchaikovsky himself realised, impresses chiefly for its third and fourth movements, both originally longer: ‘I am almost certain that the Scherzo (with the accordions [four of the diatonic button variety: an extraordinary folk timbre]) and the Andante (Child’s Dreams) will please’ (to his younger brother Modest, 26 September/8 October 1883). Writing of the E major Scherzo, a thrilling chase, cinematically prescient, Brown suggests it ‘crosses into the musical territory of the Russian supernatural’. Of the A minor Andante, that it ‘contains both the most conventional and the most original music in the whole suite […] Even within the enchanted music of Sleeping Beauty, which it clearly presages, there is rarely quite the same disquieting sense of shapes indefinable and forces unknown.’ The ‘Little Russian’ finale, ‘Wild Dance in the style of Dargomizhsky’, pays homage to Dargomizshky’s Kazatchok fantasia (which Tchaikovsky had arranged for piano around 1868.

Orchestral Suite No.3 in G Op.55

Besides his symphonies and symphonic poems Tchaikovsky wrote four orchestral suites. They show, more than the works mentioned above, the extent to which the dance rhythm is the basis for his orchestral music. In all the four movements of the Third Suite (1884) this basis is always refined, but never obscured by a strong need for charm and elegance. Although the four movements have titles intended to clarify their own character, the mood on the surface in one movement is an undercurrent in another. The ‘Elegy’ is full of major-key moments and the ‘Valse romantique’ is, like a Schubertian waltz, always two coins of the same medal. In the Scherzo the dance rhythm always competes with the desire for refinement. No wonder Stravinsky admired Tchaikovsky’s art of orchestration. The finale was not meant as ballet music, but Tchaikovsky’s intention to let the music glitter and scintillate makes the listener wonder why this music is not more often heard.

Emanuel Overbeeke

Suite No.4 in G Op.61 ‘Mozartiana’ (1887)

‘Mozart I love as a musical Christ […] Mozart was a being so angelical and childlike in his purity, his music is so full of unattainably divine beauty, that if there is someone you can mention in the same breath as Christ, then it is he. […] Mozart is the highest, the culminating point which beauty has reached in the sphere of music […] In Mozart I love everything because we love everything in a person whom we truly love’ (Diary, 20 September/2 October 1886). The ‘Mozartiana’ suite adapts four short Mozart originals (according to Tchaikovsky ‘minutely enhanced and harmonically modified’), using a comparatively modest orchestra but including cymbals, glockenspiel and harp. ‘For around an hour each day I’m occupied with orchestrating piano pieces by Mozart, which by the end of the summer I should have turned into a suite of novel character (the old given contemporary treatment)’ (24 June/6 July 1887). Tchaikovsky directed the first performance in Moscow, at a Russian Musical Society concert on 14/26 November 1887.

I. Gigue: Gigue K574 (Leipzig, 16 May 1789), G major. II. Menuetto: Minuet K355 (Vienna, ?1786–87), D major. Trio section by Maximilian Stadler (1748–1833). III. Pregheira: Ave verum corpus K618 (Baden, 1746 June 1791), from Liszt’s organ transcription (Evocation à la Chapelle Sixtine, c. 1862), B flat major. IV. Thème et variations: Unser dummer Pöbel meint, after Gluck (1714–87) K455 (Vienna, 25 August 1784), G major.

Ates Orga, 2010

CD 10

01. Orchestral Suite No. 1 in D minor, Op.43 – I. Introduzione e Fuga
02. Orchestral Suite No. 1 in D minor, Op.43 – II. Divertimento
03. Orchestral Suite No. 1 in D minor, Op.43 – III. Intermezzo
04. Orchestral Suite No. 1 in D minor, Op.43 – IV. Marche Miniature
05. Orchestral Suite No. 1 in D minor, Op.43 – V. Scherzo
06. Orchestral Suite No. 1 in D minor, Op.43 – VI. Gavotte
07. Orchestral Suite No. 2 in C major, ‘Suite Caractéristique’, Op.53 – I. Jeu de sons
08. Orchestral Suite No. 2 in C major, ‘Suite Caractéristique’, Op.53 – II. Valse
09. Orchestral Suite No. 2 in C major, ‘Suite Caractéristique’, Op.53 – III. Scherzo burlesque
10. Orchestral Suite No. 2 in C major, ‘Suite Caractéristique’, Op.53 – IV. Rêves d’enfant
11. Orchestral Suite No. 2 in C major, ‘Suite Caractéristique’, Op.53 – V. Danse baroque

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CD 11

01. Orchestral Suite No. 3 in G major, Op.55 – I. Élégie. Andante molto cantabile
02. Orchestral Suite No. 3 in G major, Op.55 – II. Valse mélancolique. Allegro moderato
03. Orchestral Suite No. 3 in G major, Op.55 – III. Scherzo. Molto vivace
04. Orchestral Suite No. 3 in G major, Op.55 – IV. Tema con Variazioni. Andante con moto
05. Orchestral Suite No. 4 in G major, ‘Mozartiana’ – I. Gigue. Allegro (Gigue, K.574)
06. Orchestral Suite No. 4 in G major, ‘Mozartiana’ – II. Menuet. Moderato (Minuet, K.355)
07. Orchestral Suite No. 4 in G major, ‘Mozartiana’ – III. Preghiera. Andante non tanto (Ave verum corpus, K.618)
08. Orchestral Suite No. 4 in G major, ‘Mozartiana’ – IV. Thème et Variations. Allegro giusto (Unser dummer Pöbel meint, K.455)

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Radio-Sinfonieorchester Stuttgart
Neville Merriner – Conductor

In Mozart, Wolfgang Amadeus

Wolfgang Amadeus Mozart (1756-1791) – Piano Sonatas – Marc-Andre Hamelin

Author fdpbachPosted on 4 Comments

LINK ATUALIZADO!!

De todos os cds que já ouvi com as sonatas para piano de Mozart provavelmente este aqui pode facilmente ser classificado o melhor gravado nesta década. Marc-Andre Hamelin está impecável, nos oferecendo um Mozart cheio de vida e de emoção.
Eis o texto de apresentação deste CD duplo tirado do próprio site da Hyperion:

“Eight of Mozart’s divinely inspired Piano Sonatas here receive performances of mercurial inspiration from consummate-musician cum virtuoso-wizard Marc-André Hamelin. His four Haydn albums have enthralled—this new Mozart will not disappoint. Two Rondos, a Fantasia, and a decidedly quirky Gigue complete a delight of a double album.”

Para se ouvir com calma, concentração, e silêncio.

CD 1
01 Mozart Piano Sonata in D major, K576 – 1 Allegro
02 Mozart Piano Sonata in D major, K576 – 2 Adagio
03 Mozart Piano Sonata in D major, K576 – 3 Allegretto
04 Mozart Piano Sonata in G major, K283 – 1 Allegro
05 Mozart Piano Sonata in G major, K283 – 2 Andante
06 Mozart Piano Sonata in G major, K283 – 3 Presto
07 Mozart Piano Sonata in F major, K332 – 1 Allegro
08 Mozart Piano Sonata in F major, K332 – 2 Adagio
09 Mozart Piano Sonata in F major, K332 – 3 Allegro assai
10 Mozart Piano Sonata in B flat major, K570 – 1 Allegro
11 Mozart Piano Sonata in B flat major, K570 – 2 Adagio
12 Mozart Piano Sonata in B flat major, K570 – 3 Allegretto
13 Mozart Rondo in D major, K485
14 Mozart Gigue in G major, K574

CD 2

15 Mozart Piano Sonata in C major, K330 – 1 Allegro moderato
16 Mozart Piano Sonata in C major, K330 – 2 Andante cantabile
17 Mozart Piano Sonata in C major, K330 – 3 Allegretto
18 Mozart Piano Sonata in B flat major, K333 – 1 Allegro
19 Mozart Piano Sonata in B flat major, K333 – 2 Andante cantabile
20 Mozart Piano Sonata in B flat major, K333 – 3 Allegretto grazioso
21 Mozart Piano Sonata in C major, K545 – 1 Allegro
22 Mozart Piano Sonata in C major, K545 – 2 Andante
23 Mozart Piano Sonata in C major, K545 – 3 Rondo
24 Mozart Piano Sonata in E flat major, K282 – 1 Adagio
25 Mozart Piano Sonata in E flat major, K282 – 2 Menuetto I & II
26 Mozart Piano Sonata in E flat major, K282 – 3 Allegro
27 Mozart Rondo in A minor, K511
28 Mozart Fantasia in D minor, K397

Marc-Andre Hamelin – Piano

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In Spohr, Louis

Louis Spohr (1784-1859) – Violin Concertos, nº 4 in B Minor, op. 10, nº 11 in G Major, op. 70 – Ulf Hoelscher, RISOB

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frontCD ORIGINALMENTE POSTADO EM 2014. NOVO LINK !!!

Assim como Hummel, Luis Spohr é outro compositor contemporâneo de Mozart, Haydn e Beethoven e que é injustamente esquecido nos dias atuais, apesar do esforço de algumas gravadoras de lançar cds com suas obras. Além disso, e assim como Hummel, que postei recentemente, Spohr era um também um virtuose, mas do violino, e rivalizava em sucesso com ninguém menos que Paganini. Além de ser um ás nos palcos, também produziu uma barbaridade, com dezoito concertos para violino, quatro para clarinete, entre muitos outros. O homem era uma máquina de compor.

Estou trazendo aqui dois concertos para violino, magnificamente interpretados por Ulf Hoelscher, músico até então desconhecido por mim. Mas o selo CPO por si só já é sinônimo de qualidade. Trarei outras obras deste compositor por este selo.  Espero que gostem.

01. Ulf Hoelscher – Violin Concerto No. 4, Op. 10 I. Allegro moderato
02. Ulf Hoelscher – Violin Concerto No. 4, Op. 10 II. Adagio
03. Ulf Hoelscher – Violin Concerto No. 4, Op. 10 III. Rondo Allegretto
04. Ulf Hoelscher – Violin Concerto No. 11, Op. 70 I. Adagio-Allegro vivace
05. Ulf Hoelscher – Violin Concerto No. 11, Op. 70 II. Adagio
06. Ulf Hoelscher – Violin Concerto No. 11, Op. 70 III. Rondo. Allegretto

Ulf Hoelscher – Violin
Rundfunk-Sinfonieorchester Berlin
Christian Fröhlich – Conductor

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In Spohr, Louis

Louis Spohr (1784-1859) – Violin Concertos in A, Nos. 3 & 6 – Hoelscher, Fröhlich, RSOB

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Vamos continuar nosso pacotaço de Louis Spohr? Mais dois concertos, booklet em anexo ao arquivo com todas as  informações biográficas que os senhores precisam.

Divirtam-se.

01. Violin Concerto in A major, WoO 12 I. Adagio Allegro
02. Violin Concerto in A major, WoO 12 II. Adagio
03. Violin Concerto in A major, WoO 12 III. Rondo
04. Violin Concerto No. 3, Op. 7 I. Adagio-Allegro
05. Violin Concerto No. 3, Op. 7 II. Siciliano, Andante
06. Violin Concerto No. 3, Op. 7 III. Rondo, Alla Polacca
07. Violin Concerto No. 6, Op. 28 I. Allegro
08. Violin Concerto No. 6, Op. 28 II. Recitativo. Andante-Allegro molto Allegro
09. Violin Concerto No. 6, Op. 28 III. Alla spagnuola. Tempo di Polacca

Ulf Hoelscher – Violin
Runddfunk-Sinfonieorchester Berlin
Christian Fröhlich – Conductor

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In Spohr, Louis

Louis Spohr (1784-1854) – The Violin Concertos nº 2 & 5 – Ulf Hoelscher, Rundfunk Sinfonieorchester Berlin, Fröhlich

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Trago hoje o segundo CD com a integral dos Concertos para Violino de Louis Spohr. Como comentei em postagem anterior, Spohr foi contemporâneo dos grandes compositores do início do século XIX, sendo amigo pessoal de vários deles, incluindo aí o próprio Ludwig, o Beethoven.

Espero que apreciem. O booklet com importantes informações sobre a vida e a obra de Spohr está anexado ao arquivo.

01. Violin Concerto No. 2, Op. 2 I. Allegro moderato
02. Violin Concerto No. 2, Op. 2 II. Adagio
03. Violin Concerto No. 2, Op. 2 III. Alla Polacca
04. Violin Concerto No. 5, Op. 17 I. Allegro moderato
05. Violin Concerto No. 5, Op. 17 II. Adagio ma non troppo
06. Violin Concerto No. 5, Op. 17 III. Rondo Allegretto

Ulf Hoelscher – Violin
Rundfunk-Sinfonieorchester Berlin
Christian Fröhlich – Conductor

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In Spohr, Louis

Louis Spohr (1784-1854) – The Violin Concertos nº 14, 15 & 1 – Ulf Hoelscher, Rundfunk Sinfonieorchester Berlin

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Louis Spohr viveu em uma época de transição, foi contemporâneo de Beethoven, Mozart, Haydn, Schubert, Schumann, Mendelssohn, e a lista continua. Todos o admiravam, e além disso foi um dos maiores violinistas de seu tempo, rivalizando com Paganini. E também lecionou durante toda a sua vida, formando dezenas, quiçá centenas de novos músicos. Ele já apareceu aqui no PQPBach algumas vezes. Sendo contemporâneo de todos estes mestres acima relacionados, deve até ter sido meio difícil de se destacar, talvez por isso seguiu a carreira de professor, mas volto a destacar que era muito admirado por todos, seja como compositor, enquanto solista ou professor.
O excelente selo alemão CPO contratou o violinista Ulf Hoelscher para gravar seus concertos para violino. São obras curiosas, destacando sempre mais a parte técnica, que oferecem diversas armadilhas para os solistas.
Neste primeiro CD que ora vos trago temos três concertos, os de nº 14, 15 e o de nº 1. Espero que apreciem, pois serão ao todo sete cds, somando quinze concertos, e algumas peças avulsas.

P.S. Segue anexo ao arquivo excelente booklet que traz maiores informações sobre o compositor e seu tempo. Vale conferir.

01. Violin Concerto No. 14, Op. 110
02. Violin Concerto No. 15, Op. 128 I. Allegro
03. Violin Concerto No. 15, Op. 128 II. Larghetto
04. Violin Concerto No. 15, Op. 128 III. Rondo grazioso
05. Violin Concerto No. 1, Op. 1 I. Allegro vivace
06. Violin Concerto No. 1, Op. 1 II. Siciliano
07. Violin Concerto No. 1, Op. 1 III. Polonaise

Ulf Hoelscher – Violin
Rundfunk-Sinfonieorchester Berlin
Christian Fröhlich – Conductor

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In Tchaikovsky, Piotr Ilitch

Pyotr Ilyich Tchaikovsky (1840-1893) – Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)

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frontThe Snow Maiden

The Russian playwright Alexander Ostrovsky, born in Moscow in 1823, is generally considered the most important figure in the Russian theatrical tradition between Gogol and Chekhov.. He studied Law at University but was forced to give up the course after a disagreement with one of the Professors, and started his career as a legal clerk, a job which gave him insights into the social interaction of the Russian merchant class and civil service; these he made use of in his first comedies. Later he turned to more serious drama, for example the tragedy Groza (1859) portraying the predicament of the young wife of a despotic merchant.
Though some of his works were initially banned by the authorities, he prospered under the more liberal reign of Alexander II and enjoyed the patronage of Alexander III. In addition to his literary work he became an important administrator of the Russian stage. He became the director of the famous Maly Theatre in Moscow; interested in music, he also founded the Society of Russian Dramatic Art and Opera Composers. Ostrovsky’s Snegoruchka – Vesennyaya Skazka (The Snow Maiden – a Spring Fairy Tale), to give it its full title, stands rather apart from his more realistic works. The Maly Theatre was closed for renovation in early 1873 and its dramatic troupe had to work at the neighbouring Bolshoi Theatre, which housed the opera and ballet companies. The Bolshoi management put it to Ostrovsky that he should create a spectacle involving all three arts – acting, dancing and music. The Snow Maiden was the result, and in it he drew upon a wide range of Russian folk-tales to create a sparkling mythic synthesis. For the first production, which took place on 11 May 1873, an important score of incidental music was commissioned from the 32-year-old Tchaikovsky, who was still in the process of establishing his reputation as a composer. Although he was teaching 27 hours a week at the Moscow Conservatoire, it took him just three weeks to write the music, which he composed as soon as he received each fresh batch of text from Ostrovsky, completing it in early April.
In the event it turned out to be Tchaikovsky’s contribution, more than Ostrovsky’s, which impressed the play’s first audiences. The gorgeous production was mounted at a cost of 15,000 roubles, but was judged tobe rather static, without much dramatic action. The Snow Maiden had four performances in the spring season of 1873, and four more in the winter season of 1873–4. After one further performance, however, it disappeared from the repertoire, probably because of the expense of using all three performing companies.
Tchaikovsky’s friend and mentor Nikolai Rubinstein, who admired the score, conducted it in concert, and it has occasionally been revived without Ostrovsky’s play. Tchaikovsky himself had great affection for this music. For some years after the production he planned to expand the incidental music into an opera, and he was highly incensed when he found that Rimsky-Korsakov had written an opera of his own on Ostrovsky’s play. He wrote to his brother Modest ‘… it’s as though they’ve taken from me by force something that is innately mine and dear to me, and are presenting it to the public in bright new clothes. It makes me want to weep!’ Much later, in 1891, he would re-use some of the music of The Snow Maiden in his incidental music to Shakespeare’s Hamlet.
The story of The Snow Maiden, which has some similarities to that of Hans Christian Andersen’s ‘The Little Mermaid’, deals with the opposition of eternal forces of nature and involves the interactions of mythological characters (Frost, Spring, the Wood-Sprite), real people (Kupava, Mizgir, Brussila), and those in-between beings who are half-mythical, half-real (the Snow Maiden, Lel the Shepherd, and Tsar Berendey). The Snow Maiden can only live if her heart remains cold, unwarmed by love. But wishing to  experience a life like other girls, she enters the world of human beings and innocently ruins a wedding when the bridegroom sees her and falls in love with her. Accused by the bride, of seducing her intended husband, the Snow Maiden is brought before the Tsar, Berendey, for judgement, and she decrees that she must marry the man – with whom she has meantime fallen in love. But love’s warmth has made her vulnerable to the rays of the Sun God, and when exposed to them she melts away to nothing.
Tchaikovsky composed a large quantity of music to accompany Ostrovsky’s play. Much of it is vocal and choral, including songs for Lel and the peasant Brusilo, and a monologue for Frost. The choral contributions include such attractive inspirations as the chorus of shivering birds, the chorus of flowers, and the choral carnival procession, a picture of Russian peasant life. All the dances are attractive and in fact give a hint of the great ballet composer Tchaikovsky would soon become. In composing this score for a play based on Russian fairytale, Tchaikovsky made more lavish use of Russian folksongs than in any previous work there are about a dozen of them, which he placed  in colourful settings. The Introduction, however, is borrowed from his earlier, unsuccessful opera Undine, which also provided the material for Lel’s first song.
In a letter of 1879 to his patroness Nadezhda von Meck, Tchaikovsky wrote that The Snow Maiden was ‘one of my favourite offspring. Spring is a wonderful time; I was in good spirits, as I always am at the approach of summer and three months of freedom. I think this music is imbued with the joys of spring that I was experiencing at the time’.

Malcolm MacDonald, 2010

01. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – I. Introduction
02. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – II. Dance & Choruses Of The Birds
03. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – III. Winter’s Monologue
04. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – IV. Carnival Procession
05. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – V. Melodrama
06. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – VI. Interlude
07. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – VII. Lehl’s First Song
08. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – VIII. Lehl’s Second Song
09. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – IX. Interlude
10. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – X. Chant Of The Blind Bards
11. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – XI. Melodrama
12. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – XII. Chorus Of The People And Courtiers
13. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – XIII. Round Of The Young Maidens
14. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – XIV. Dance Of The Tumblers
15. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – XV. Lehl’s Third Song
16. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – XVI. Brussila’s Song
17. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – XVII. Apparition Of The Spirit Of The Wood
18. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – XVIII. Interlude. The Spring Fairy
19. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – XIX. Tsar Berendey’s March & Chorus
20. Incidental Music to the play by Ostrovsky, ‘The Snow Maiden (Snegurochka)’ – XX. Final Chorus

Natalia Erassova – Mezzo-Soprano
Alexander Archipov – Tenor
Nikolai Vassiliev – Baritone
Russian State Chorus & Orchestra
Andrei Chistiakov – Conductor

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In Barber, Samuel

Samuel Barber (1910-1981) – Violin Concerto, Op. 14, Piano Concerto, Op. 38, Adagio for strings (or string quartet; arr. from 2nd mvt. of String Quartet), Second Essay, for orchestra, Op. 17, The School for Scandal, overture for orchestra, Op. 5 – Stern, Browning, Bernstein, Ormandy, etc

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frontAndo meio sem tempo e com falta de inspiração, então minhas postagens tem saído truncadas, não dou continuidade a integrais, ando bem relaxado para dizer a verdade. Tem dias que nem ligo o computador.
Sei lá se isso vai continuar acontecendo, ou se de repente me sento em frente ao computador e preparo postagens para os próximos dez dias. Antes botava a culpa na internet sem vergonha que recebia em casa. Hoje não posso mais alegar isso. Posso dizer que tenho uma fórmula 1 de internet, comparando com antigos padrões.
Mas chega de blá-blá-blá … hoje tirei o dia para emocioná-los e creio que os senhores irão se emocionar bastante. Preparem seus lenços, os mais sensíveis irão derrubar lágrimas. e só temos feras aqui tocando o maravilhoso Concerto para Violino de Barber, com Isaac Stern ao lado de Leonard Bernstein nos áureos tempos da Filarmônica de New York.  Ouçam que coisa mais linda o primeiro movimento, é emocionante, delicado, sensível. Sem falar do Adagio para Cordas, com o Eugene Ormandy e sua Orquestra da Filadélfia absolutamente inspirados.
Sugiro um bom vinho e uma boa poltrona para melhor apreciarem essa belezura de CD.

01. Violin Concerto, Op. 14- 1. Allegro
02. Violin Concerto, Op. 14- 2. Andante
03. Violin Concerto, Op. 14- 3. Presto in moto perpetuo

Isaac Stern – Violin
New York Philharmonic
Leonard Bernstein – Conductor

04. Piano Concerto, Op. 38- 1. Allegro appassionato
05. Piano Concerto, Op. 38- 2. Canzone- Moderato
06. Piano Concerto, Op. 38- 3. Allegro molto

Johnn Browning – Piano
Cleveland Orchestra
George Szell – Conductor

07. Adagio for strings (or string quartet; arr. from 2nd mvt. of String Quartet)

Philhadelphia Orchestra
Eugene Ormandy – Conductor

08. Second Essay, for orchestra, Op. 17
09. The School for Scandal, overture for orchestra, Op. 5

New York Philharmonic Orchestra
Thomas Schippers – Conductor

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In Chopin, Frédéric

Fréderic Chopin – Piano Sonata nº2 en si bémol, op. 35, 14 Valses – Samson François

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Box FrontVamos embarcar no túnel do tempo até 1956, e depois 1958, em Paris. Nestes anos o grande pianista francês Samson François lançou estas duas gravações históricas, a Sonata nº 2, em 1956, e a de 14 valsas, em 1958. Li a referência a estas gravações em algum lugar na Internet,  e como já tinha há algum tempo a integral de François pela EMI francesa, fui ouvir com atenção.

Como comentei acima, estas gravações foram realizadas há sessenta anos, então não podemos esperar uma grande qualidade no som, mas em compensação a qualidade da interpretação é insuperável. Ouvindo a atual geração de pianistas franceses, como Hélene Grimaud e até mesmo Alexander Tharaud, podemos entender o nível a que estes excepcionais músicos chegaram: sempre apoiados nos ombros de gigantes  como Samson François.

Mas vamos ao que viemos, e vamos ouvir com atenção um dos maiores pianistas do século XX, Samson François. Posso estar enganado, mas creio que esta seja a primeira vez que este músico aparece por aqui.

01. Samson Francois – Sonate No.2 – 1. Grave – Doppio movimento
02. Samson Francois – Sonate No.2 – 2. Scherzo
03. Samson Francois – Sonate No.2 – 3. Marche funebre
04. Samson Francois – Sonate No.2 – 4. Finale (presto)
05. Samson Francois – 14 Valses – No.1 Op.18 Grande Valse brilliante
06. Samson Francois – 14 Valses – No.2  Op.34 No.1 Valse brilliante
07. Samson Francois – 14 Valses – No.3 Op.34 No.2
08. Samson Francois – 14 Valses – No.4 Op.34 No.3 Valse brilliante
09. Samson Francois – 14 Valses – No.5 Grande valse Op.42
10. Samson Francois – 14 Valses – No.6 Op.64 No.1
11. Samson Francois – 14 Valses – No.7 Op.64 No.2
12. Samson Francois – 14 Valses – No.8 Op.64 No.3
13. Samson Francois – 14 Valses – No.9 Op.69 No.1
14. Samson Francois – 14 Valses – No.10 Op.69 No.2
15. Samson Francois – 14 Valses – No.11 Op.70 No.1
16. Samson Francois – 14 Valses – No.12 Op.70 No.2
17. Samson Francois – 14 Valses – No.13 Op.70 No.3
18. Samson Francois – 14 Valses – No.14 Op. posth

Samson François – Piano

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In Rachmaninov, Serguei

Sergey Vasil’yevich Rachmaninov (1873 – 1943) – Piano Concertos – Jean – Phillip Collard, Orchestre du Capitole de Toulouse, Michel Plasson

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Box Front 51JmAZhEEILVamos dar um tempo com  a série de Tchaikovsky mas continuamos com os russos,  para trazer uma bela mostra da obra pianística de Sergey Rchmaninov, desta vez nas mãos de franceses, exclusivamente.
Dentre todas as versões que já tive a oportunidade de ouvir destes concertos, esta gravação de Jean – Phillip Collard é a mais lírica, mais apaixonada. Mesmo nas partes mais difíceis, ele não se preocupa muito com a parte mais virtuosística da obra, mas em explorar a parte melódica, nas nuances, nos trazendo um Rachmaninov mais ‘apaixonado’, se podemos dizer assim.

Espero que apreciem. Eu gostei muito.

CD 1

01. Concerto Nº 1 En Fa Diese Mineur in G Sharp Minor I) Vivace
02. Concerto Nº 1 En Fa Diese Mineur in G Sharp Minor II) Andante
03. Concerto Nº 1 En Fa Diese Mineur in G Sharp Minor III) Allegro Vivace
03. Concerto Nº 1 En Fa Diese Mineur in G Sharp Minor III) Allegro Vivace
04. Concerto Nº 2 En Ut Mineur in C Minor I) Moderato
05. Concerto Nº 2 En Ut Mineur in C Minor II) Adagio Sostenuto
06. Concerto Nº 2 En Ut Mineur in C Minor III) Allegro Scherzando

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CD 2

01. Concerto Nº 3 En Re Mineur in D Minor I) Allegro Ma Non Tanto
02. Concerto Nº 3 En Re Mineur in D Minor II) Intermezzo
03. Concerto Nº 3 En Re Mineur in D Minor III) Finale Alla Breve
04. Concerto Nº 4 En Sol Mineur in G Minor I) Allegro Vivace
05. Concerto Nº 4 En Sol Mineur in G Minor II) Largo
06. Concerto Nº4 En Sol Mineur in G Minor III) Allegro Vivace

Jean-Philippe Collard
Orchestre du Capitole de Toulouse
Michel Plasson

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CD 3

01. Rhapsodie sur un theme de Paganini-Op.43

Jean-Philippe Collard – Piano
Orchestre du Capitole de Toulouse
Michel Plasson – Conductor

02. Variations sur un theme de Corelli – Op.42
03. Sonate piano no 2 si b maj – Op.36 – 1913 – Allegro-Agitato
04. Sonate piano no 2 si b maj – Op.36 – 1913 – Non allegro
05. Sonate piano no 2 si b maj – Op.36 – 1913 – Allegro molto

Jean-Philippe Collard – Piano

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CD 4

01. Etudes Tableaux, Op.33, No.1 en fa mineur
02. Etudes Tableaux, Op.33, No.2 en ut majeur
03. Etudes Tableaux, Op.33, No.3 en ut mineur
04. Etudes Tableaux, Op.33, No.4 en re mineur
05. Etudes Tableaux, Op.33, No.5 en mi bemol mineur
06. Etudes Tableaux, Op.33, No.6 en mi bemol majeur
07. Etudes Tableaux, Op.33, No.7 en sol mineur
08. Etudes Tableaux, Op.33, No.8 en ut diese mineur
09. Etudes Tableaux, Op.39, No.1 en ut mineur
10. Etudes Tableaux, Op.39, No.2 en la mineur
11. Etudes Tableaux, Op.39, No.3 en fa diese mineur
12. Etudes Tableaux, Op.39, No.4 en si mineur
13. Etudes Tableaux, Op.39, No.5 en mi bemol mineur
14. Etudes Tableaux, Op.39, No.6 en la mineur
15. Etudes Tableaux, Op.39, No.7 en ut mineur
16. Etudes Tableaux, Op.39, No.8 en re mineur
17. Etudes Tableaux, Op.39, No.9 en re majeur

Jean-Philippe Collard – Piano

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CD 5

01. – Prelude en ut diese mineur op3 No.2
02. – Moment musical en si mineur op16 No.3
03. – Prelude en fa diese mineur op23 No.1
04. – Prelude en si bemol majeur op23 No.2
05. – Prelude en re majeur op23 No.4
06. – Prelude en sol diese mineur op32 No.12
07. – Sonate pour violoncelle et piano – 1 Lento – Allegro moderato
08. – Sonate pour violoncelle et piano – 2 Allegro scherzando
09. – Sonate pour violoncelle et piano – 3 Andante
10. – Sonate pour violoncelle et piano – 4 Allegro mosso

Gary Hoffman – Cello
Jean-Philippe Collard – Piano

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In Tchaikovsky, Piotr Ilitch

Pyotr Ilyich Tchaikovsky (1840-1893) – Incidental Music for Soprano, Baritone & Orchestra, ‘Hamlet’, Op.67a, Tone Poem for Orchestra, ‘Fatum’, Op.posth.77

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frontHamlet – Incidental Music Op.67a for soloists and orchestra, excerpts (1891)

This score was written in two weeks for a French-language benefit production of Shakespeare’s five-act tragedy at the Mikhailovski Theatre, Petersburg 9/21 February 1891. Undertaken at the request of, and as a favour to, Tchaikovsky’s friend Lucien Guitry (in the title role for would be his last appearance on the Russian stage), the music re-cycled certain old material, including the Hamlet overture-fantasia (Overture), the alla tedesca second movement of the Third Symphony (CD8, track 5), Kupava’s Lament from The Snow Maiden and the 1884 ‘Samarin’ Elegy for strings (9). Tchaikovsky had long been drawn to the story, his brother Modest having proposed it to him in 1876. ‘Hamlet is very much to my taste, but it’s devilishly difficult’. Despite being ‘well received’, the incidental music seems nevertheless to have been a chore. ‘Hamlet is coming along. But it is such unpleasant work’. Gauk’s performance cuts three of the sixteen numbers:
1 III/ii Fanfares 1 (‘Sound a flourish’) 2 (‘The dumb show enters’), Melodrama (Poison Scene enactment); IV/v Ophelia’s Second Scene (‘And will he not come again?’); (12) V Entr’acte (Churchyard). Overture (Hamlet Op 67, abbreviated); 1 Act I/i Melodrama (Elsinore. A platform before the Castle. Enter Ghost); 2 I/iv Fanfare (‘A Flourish of Trumpets’); 3 I/iv Melodrama (Enter Ghost. Hamlet, Prince of Denmark: ‘Angels and ministers of grace defend us!’); 4 I/v Melodrama (The Castle. Another part of the fortifications. Enter Ghost and Hamlet. ‘I am thy father’s  Spirit,/Doom’d for a certain term to walk the night,/And for the day confin’d to fast in fires,/Till the foul crimes done in my days of nature/Are burnt and purg’d away’); 5 Act II Entracte, prelude to Scene i (A room in the house of Polonius [Lord Chamberlain]. Enter Ophelia [daugher to Polonius]); 6 II/ii Fanfare (A room in the Castle. Flourish. Enter King and Queen, Rosencrantz and Guildenstern, [Attendants]); 7 Act III Entracte, prelude to Scene i (Enter King, Queen, Polonius, Ophelia, Rosencrantz, Guildenstern [two courtiers], and Lords); 9 Act IV Entr-acte, prelude to Scene i (Enter King and Queen, with Rosencrantz and Guildenstern); 10 IV/v Ophelia’s ‘Mad Scene’ [soprano] (‘He is dead and gone, lady,/He is dead and gone;/At his head a grass-green turf,/At his heels a stone’); 13 Act V/i Gravedigger’s [Clown’s] Song [baritone] (Elsinore. A churchyard. ‘In youth when I did love, did love,/Methought it was very sweet;/To contract, O, the time for, ah, my behove,/O, methought there was nothing meet.); 14 V/i Funeral March (Enter [priests with ‘the fair’ Ophelia’s] coffin, King, Queen, Laertes [son to Polonius], with Lords attendant); 15 V/ii Fanfare (A hall in the Castle. ‘Drum; trumpets sound’); 16 V/ii Final March (‘Let four captains/Bear Hamlet like a soldier to the stage;/For he was likely, had he been put on,/To have prov’d most royally; and for his passage/The soldiers’ music and the rites of war/Speak loudly for him’).

01. Incidental Music for Soprano, Baritone & Orchestra, ‘Hamlet’, Op.67a – I. Overture
02. Incidental Music for Soprano, Baritone & Orchestra, ‘Hamlet’, Op.67a – II. Moderato assai
03. Incidental Music for Soprano, Baritone & Orchestra, ‘Hamlet’, Op.67a – III. Allegro vivo
04. Incidental Music for Soprano, Baritone & Orchestra, ‘Hamlet’, Op.67a – IV. Moderato assai
05. Incidental Music for Soprano, Baritone & Orchestra, ‘Hamlet’, Op.67a – V. Allegro giusto ed agitato
06. Incidental Music for Soprano, Baritone & Orchestra, ‘Hamlet’, Op.67a – VI. Allegro semplice
07. Incidental Music for Soprano, Baritone & Orchestra, ‘Hamlet’, Op.67a – VII. Fanfare
08. Incidental Music for Soprano, Baritone & Orchestra, ‘Hamlet’, Op.67a – VIII. Andante quasi allegretto
09. Incidental Music for Soprano, Baritone & Orchestra, ‘Hamlet’, Op.67a – IX. Andante non troppo
10. Incidental Music for Soprano, Baritone & Orchestra, ‘Hamlet’, Op.67a – X. Andantino ‘Elsinore’, Mad Scene
11. Incidental Music for Soprano, Baritone & Orchestra, ‘Hamlet’, Op.67a – XI. Andantino
12. Incidental Music for Soprano, Baritone & Orchestra, ‘Hamlet’, Op.67a – XII. Marcia. Moderato assai
13. Incidental Music for Soprano, Baritone & Orchestra, ‘Hamlet’, Op.67a – XIII. Allegro giusto
14. Incidental Music for Soprano, Baritone & Orchestra, ‘Hamlet’, Op.67a – XIV. Allegro risoluto ma non troppo

USSR State Radio & TV Symphony Orchestra
Alexander Gauk

15. Tone Poem for Orchestra, ‘Fatum’, Op.posth.77

Grand Symphony Orchestra
Alexander Gauk

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