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  Наименование CD :
   The Miraculous Mandarin. Music For Strings, Percussion And Celesta



Год издания : 

Компания звукозаписи : Decca

Время звучания : 1:00:53

Код CD : Decca 411 894-2

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Symphony)      

## 1-8 The Miraculous Mandarin, op.19 Complete ballet

The Kenneth Jewell Chorale (Director: Eric Freudigman)

## 9-12 Music for Strings, Percussion and Celesta

Detroit Symphony Orchestra - Antal Dorati

========= from the cover ==========

Bartok's third and final stagework, the ballet (or 'pantomime') The Miraculous Mandarin, was completed in piano score in May 1919, although the composer continued work on the orchestration until 1924. The first production was eventually mounted in 1926 in Cologne, where the work's horrific scenario, by Menyhert Lengyel, so shocked the audience that the ballet had to be taken off after a single performance.

Scurrying strings and hammered-out woodwind chords suggest the turmoil of the city, where, in a brothel, three thugs force a young girl to entice men from the street so that they may be robbed. She attempts to ensnare the passing men to the seductive sounds of the clarinet. An elderly rake appears to sarcastic trombone glissandi, and his gestures of love are accompanied by yearning violas and cellos and a whining cor anglais. He is penniless and soon thrown out. To more highly decorated clarinet arabesques she begins again and lures inside a timid youth. He has no money either, and is similarly despatched. Then comes a Mandarin, gorgeously attired, and painted in sound with a pentatonic theme harmonised in tritones and played by muted trombones with shrill outbursts on wind and strings. Lasciviously the girl begins to dance a languid waltz, but the Mandarin remains eerily impassive. Soon her dancing inflames her own passions and the orchestral textures become more elaborate with the sounds of piano, celesta, triangle and harp. The Mandarin tries to possess her and pursues her relendessly to a furious fugue on a folk-derived theme. The thugs leap out, rob him, and then attempt to kill him; first by suffocating him under cushions, then by stabbing, and finally by hanging him. They try in vain, and his eyes remain fixed on the girl. The wordless chorus, off-stage, intones dolorous minor thirds against intense, high string melodies. Only when the thugs cut him down and the girl takes him in her arms do his wounds start to bleed; desire flickers out, and he dies.

It was Bartok's declared aim to create a fusion of Bach-inspired counterpoint, the tight motivic logic of Beethoven, and Debussy's heightened awareness of sonority. The other, crucial, element in the compound that is Bartok's style is the folk music of Central Europe, particularly that of his native Hungary.

Nowhere is the synthesis better displayed than in the Music for Strings, Percussion and Celesta. The opening movement of the work, an astonishingly intricate fugue, is suffused with a soulfulness akin to the intense melancholy of many Hungarian folk tunes, while the Finale dances in so-called 'Bulgarian' rhythm. The unearthly sounds conjured up in the Adagio are an especially beautiful example of the 'night music' found in several of Bartok's scores, yet arresting sonorities are a feature of the whole work. Two string ensembles are directed by the composer to be separated from each other to the right and left of the conductor. Between them are timpani (pedal-tuned and so capable of executing glissandi), bass drum, cymbals, side-drums with and without snares, tam-tam, celesta, xylophone, piano and harp. The germ of the work, from which the whole composition grows, is the chromatic subject announced by the violas at the very opening. It undergoes numerous transformations in the ensuing Allegro and motives derived from it link the sections of the Adagio. As the theme of the exuberant Finale it appears stretched out in a bounding diatonic version.

The work was commissioned by Paul Sacher for his Basle Chamber Orchestra to mark its tenth anniversary; these musicians gave the first performance in Basle on 21 January 1937.

-Timothy Day


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Наименование трека

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   1 Allegro / Curtain         0:03:24 The Miraculous Mandarin, Op.19
   2 1'st Decoy Garne         0:03:33 -"-
   3 2nd Decoy Garne         0:02:52 -"-
   4 3rd Decoy Garne         0:01:43 -"-
   5 Maestoso / Allegro         0:09:10 -"-
   6 Sempre Vivo / Adagio         0:04:54 -"-
   7 Agitato / Molto Moderato         0:03:21 -"-
   8 Piu Mosso         0:02:18 -"-
   9 I Andante Tranquillo         0:07:40 Music For Strings, Percussion And Celesta
   10 II Allegro         0:07:48 -"-
   11 III Adagio         0:06:20 -"-
   12 IV Allegro Molto         0:07:47 -"-

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 T   'щелкнуть' - переход к тексту композиции.

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