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  Наименование CD :
   Cantata Profana. The Wooden Prince



Год издания : 1992

Компания звукозаписи : Deutsche Grammophon, (wb)

Время звучания : 1:13:11

Код CD : 435863

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Symphony)      

Chicago Symphony Chorus, Chicago Symphony Orchestra

Cantata profana, for tenor, baritone, double chorus & orchestra (or piano) ("The Enchanted Stags"), Sz. 94, BB 100

Little is known about the evolution of this powerful cantata. Bartok, an inveterate collector, arranger, and borrower of folk music, based this choral work on a Rumanian folk ballad, and translated the text himself into Hungarian. Many forget that the composer was born in a town in Hungary (Nagyszentmiklos) that is now a part of Rumania. What is unusual about this cantata is that it is unique in Bartok's output, like his only opera Bluebeard's Castle. This is not to suggest a kinship between these two masterful works, because stylistically they are quite far apart.

Cast in three connected movements, Cantata profana is subtitled "The Nine Enchanted Stags." Its text tells of an old man with nine sons whom he only trained in the hunting of stags (male red deer). They depart without him on a hunting expedition one day and are changed into stags. When their father discovers their fate, he asks them to return home with him, but is told by one son their antlers cannot fit through the doorway and that they must remain in the forest.

The first movement, marked Molto moderato, is entitled, "Once there was an old man." After the dark introduction by the orchestra, the chorus enters in a nocturnal haze. The mood remains eerie and mysterious until the powerful middle section, where the choral writing and driving rhythms impart a primal character. The latter part of the opening panel returns to the darker mood of the opening, but now with greater orchestral color and atmosphere.

Marked Andante, the second movement is subtitled, "Through forest aroving, hey-yah!" Tensions stir from the outset, and again, the choral writing is savage and rhythmic. But solo parts for the tenor (son, now a stag) and baritone (father) soon follow, tempering the furious mood somewhat. The long solo for the baritone is darkly atmospheric and features deliciously eerie music from both the chorus and orchestra. The latter part of this panel has both soloists in dramatic and powerful dialogue regarding the return of the nine sons.

The final movement, marked Moderato, is subtitled "Once there was an old man." It opens with a lovely chorus, devoted to summarizing all the details of the story presented in the first two movements. The music is less vehement and features only one brief solo part, for the tenor. On the whole, the mood is reflective and subdued here and might be regarded as a sort of epilogue. This is the shortest of the three sections, lasting about three minutes, as compared with the approximately eight-minute lengths of the previous movements. While this work has folk origins, its music generally does not divulge any ethnic flavors, though the tenor solos often exhibit a certain Rumanian melodic characteristic, the so-called hora lunga. Cantata profana resembles the style of the second movement of Bartok's then-contemporary Second Piano Concerto (1930 - 1931) and parts of the Miraculous Mandarin (1919), as well.

-Robert Cummings

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The Wooden Prince (A fabol faragott kiralyfi), ballet in 1 act for orchestra, Sz. 60, BB 74 (Op. 13)

While the least successful artistically (and the most difficult to stage) of Bartok's three dramatic works, the ballet The Wooden Prince was nevertheless a great success with the audience at its premiere in Budapest in May 1917. No doubt this was due in part to the happy circumstances under which it was first produced. Unlike many of Bartok's previous works, whose earliest performances had suffered from insufficient preparation, the original production of The Wooden Prince enjoyed the benefit of an unprecedented 30 rehearsals under conductor Egisto Tango.

Much of the problem posed by The Wooden Prince lies with its dramatic component. The story was written by Hungarian dramatist Bela Balasz, who had previously supplied the libretto for Bluebeard's Castle (1911). In the ballet, the simple tale of a Prince's attempts to woo and win a reluctant Princess through the use of a broomstick dummy of himself was complicated by Balasz's introduction of a Fairy who plays both sides of the game, initially hindering the Prince in his ardor but later taking pity on him and helping him to win the hand of his beloved. The Fairy's almost perverse change of heart seems inexplicable in the rudimentary fairy tale context, and the other characters are entirely one-dimensional, in stark contrast to the deep psychological portraits Balasz provided (via Maeterlinck) for Bluebeard's Castle. Further, none of the characters is granted specific identification with a distinctive musical motif, as was notably the case in Bartok's following stage work, the ballet-pantomime The Miraculous Mandarin (1918-19).

The score calls for one of the largest orchestras Bartok ever summoned, including woodwinds, horns, and trumpets in fours, pairs of saxophones and cornets, and a large complement of tuned and non-pitched percussion. The opening, based on a long-held C major triad, has been compared to that of Wagner's Das Rheingold; fully three minutes elapse before the curtain rises. In The Wooden Prince Bartok expresses his musical ideas in a unique style of impressionism similar to that which distinguishes the Images, Op. 10 (1910) and the Four Orchestral Pieces, Op. 12 (1912). While the sound world is ravishing, the shape of the piece is somewhat diffuse. Notable exceptions include the billowing music that accompanies the episode in which the Fairy causes the river to rise against the Prince as he seeks the Princess; the grotesque episode when the Fairy enchants the stick figure the Prince has fashioned, causing it to dance, is similarly striking. This music, the most focused in the piece, looks forward to the direction Bartok would take in subsequent decades, while much of the score represents a valedictory for the composer's style up to that point.

Despite subsequent stagings, notably the Cubism-influenced Budapest production of 1935 and that at the Bartok Festival of 1948, The Wooden Prince has not entered the repertory as a stage work; it remains known primarily in the form of a concert suite arranged by the composer in 1921 and expanded in 1931-32.

-Mark Satola


  Соисполнители :

Chicago Symphony Orchestra (Orchestra)
John Aler (Tenor Voice)
John Tomlinson (Vocals)
Pierre Boulez (Conductor)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 I. Molto Moderato (attacca)         0:06:59 Cantata Profana, For Tenor, Baritone, Double Chorus & Orchestra Or Piano "The Enchanted Stags", Sz. 94, BB 100
   2 II. Andante (attacca)         0:08:00 -"-
   3 III. Moderato         0:03:17 -"-
   4 I. Introduction. Molto Moderato         0:05:14 The Wooden Prince, A Fabol Faragott Kiralyfi, Ballet In 1 Act For Orchestra, Sz. 60, BB 74, Op. 13
   5 II. First Dance: Dance Of The Princess In The Forest         0:05:04 -"-
   6 III. Second Dance: Dance Of The Trees, Assai Moderato         0:05:26 -"-
   7 IV. Third Dance: Dance Of The Waves, Andante         0:11:36 -"-
   8 V. Fourth Dance: Dance Of The Princess With The Wooden Prince, Allegro         0:15:20 -"-
   9 VI. Fifth Dance: The Princess Pulls And Tugs At The Wooden Prince, Meno Mosso (subito)         0:01:55 -"-
   10 VII. Sixth Dance: She Tries To Attract The Real Prince With Her Seductive Dancing         0:01:37 -"-
   11 VIII. Seventh Dance: Dismayed, The Princess Attempts To Hurry After The Prince, But The Forest Bars Her Way, Moderato         0:08:43 -"-

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

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