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  Наименование CD :
   Le Sacre Du Printemps



Год издания : 1982

Компания звукозаписи : Decca

Время звучания : 33:39

Код CD : Decca 400 084-2

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Modern Classics)      

The Rite of Spring

Detroit Symphony Orchestra - Conducor Antal Dorati

PART I:

Introduction. L'adoration de la terre.

Les augures printaniers. Danses des adolescentes.

Jeu du rapt.

Rones printanieres.

Jeux des cites rivales.

Cortege du sage.

Adoration de la terre (Le Sage).

Danse de la terre.

PART II:

Introduction. Le sacrifice.

Cercles mysterieux des adolescentes.

Glorification del'elue.

Evocation des ancetres.

Action rituelle des ancetres.

Danse sacrale. L'elue.

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

Stravinsky: The Rite of Spring

For Vivaldi in the relevant concerto from The Seasons, as also for Beethoven in his F major violin sonata, Spring was a gentle time. It was not for Stravinsky. When, after long years of exile from his native country, he was asked what he had most loved about it, his reply was revealing: "The violent Russian spring that seemed to begin in an hour and was like the whole earth cracking". One can hardly doubt that such memories, dating back to Stravinsky's childhood, were drawn upon when he came to compose The Rite of Spring during the years 1911-13. However, the work is not only, or even primarily, about nature. Nor is it in any confined by its original subject matter, a ballet scenario concerning the largely imaginary spring rituals of pagan Russia. For Spring, as Stravinsky understood it, was an image of change and return in human affairs, as witness his own return to the subject, under changed circumstances, in his melodrama Persephone of 1933-4 and then again in his biggest work, the opera The Rake's Progress of 1947-51. It should not be surprising, therefore, that The Rite of Spring should have been the occasion for a momentous renewal in the art of music itself. Although there are signals of change in the ballet scores that Stravinsky had earlier written lor Dyagilev, The Firebird (1909-10) and Petrushka (1910-11), the revolution became quite unmistakable in The Rite: hence the uproar of the first performance, in Paris on 29 May 1913, and the fierce division in the press between savage opponents and others who were ready to applaud what they saw as a fresh, vital barbarity. No doubt these reactions, whether scandalised or loudly positive, were occasioned in part by Vaslav Nijinsky's choreography, even though the dancing failed to live up to Stravinsky's own vision of "rhythmic mass movements of the greatest simplicity". But equally the music :ontains a shock, which can still be felt, and indeed hardly avoided: the shock of rhythm unleashed, almost as if for the first time.

In fact, though the huge eruptions of this music are the work of a highly sophisticated composer. Stravinsky chose to revise the final "Sacrificial Dance" in 1943" and the whole score in 1947, but his first thoughts show a complete mastery of an enormous orchestra, an extraordinary range of fully realised textures from brusque chords in "The Augurs of Spring" to complex interweaving in the introductions to each part. And if the rhythmic energy of the work is credibly uncivilised in its inspiration, it is an energy achieved through a highly developed feeling for repetition that always becomes increasingly insistent rather than monotonous or weak.

This is indeed music of persistent return, and persistent change. The opening bassoon solo is one of constantly different departures from a constantly repeated high C; the most rampant stretches, including most particularly the climactic culminations of both parts, "Dance of the Earth" and "Sacrificial Dance", depend for their power on a pulse which is strongly emphasised and yet never to be taken for granted, always subject to syncopation or metric change. Each movement will be the same at the last, the music says, and totally different.

-Paul Griffith


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   1 Part 1         0:15:56  
   2 Part 2         0:17:43  

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 T   'щелкнуть' - переход к тексту композиции.

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Последние изменения в документе сделаны 19/10/2016 22:08:19

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