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stravinsky, igor  -  Complete ballets & symphonies / ashkenazy, bychkov, chailly, dutoit, haitink, mustonen, antonacci

 
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  • Format : CD x 7 - Box

  • Allgemeiner Zustand : original neu
  • Zustand des Covers : S (?)
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  • Label : Decca 478 3028
  • Pressung : UPC/EAN: 028947830283 - EU
  • Jahr : 2011
  • Kommentar : Stravinsky: Complete Ballets & Symphonies / Ashkenazy, Chailly, Dutoit [7-CD Co ... siehe unten

  • verfügbare Anzahl : 1
 
Kommentar des Verkäufers :
Stravinsky: Complete Ballets & Symphonies / Ashkenazy, Chailly, Dutoit [7-CD Collector's Edition]

Release Date: 10/18/2011
Label: Decca Catalog #: 001605302
Composer: Igor Stravinsky
Performer: Anna Caterina Antonacci, Pietro Ballo, William Shimell, Olli Mustonen, ...
Conductor: Charles Dutoit, Vladimir Ashkenazy, Riccardo Chailly, Bernard Haitink
Orchestra/Ensemble: Montreal Symphony Orchestra, Berlin Radio Symphony Orchestra, Royal Concertgebouw Orchestra, ...
Number of Discs: 7
Recorded in: Stereo

Works on This Recording
1. Firebird by Igor Stravinsky
Conductor: Charles Dutoit
Orchestra/Ensemble: Montreal Symphony Orchestra
Period: 20th Century
Written: Russia
Date of Recording: 10/1984
Venue: Eglise de St. Eustache, Montreal
Length: 46 Minutes 34 Secs.
2. Symphony in Three Movements by Igor Stravinsky
Conductor: Vladimir Ashkenazy
Orchestra/Ensemble: Berlin Radio Symphony Orchestra
Period: 20th Century
Written: 1942-1945; USA
Date of Recording: 1991
Venue: Jesus Christus Kirche, Berlin
Length: 22 Minutes 12 Secs.
3. Symphony in C by Igor Stravinsky
Conductor: Vladimir Ashkenazy
Orchestra/Ensemble: Berlin Radio Symphony Orchestra
Period: 20th Century
Written: 1939-1940; USA
Date of Recording: 1991
Venue: Jesus Christus Kirche, Berlin
Length: 27 Minutes 35 Secs.
4. Symphonies of Wind Instruments by Igor Stravinsky
Conductor: Vladimir Ashkenazy
Orchestra/Ensemble: Berlin Radio Symphony Orchestra
Period: 20th Century
Written: 1920; France
Date of Recording: 1991
Venue: Jesus Christus Kirche, Berlin
Length: 8 Minutes 59 Secs.
5. Pulcinella by Igor Stravinsky
Performer: Anna Caterina Antonacci (Soprano), Pietro Ballo (Tenor), William Shimell (Bass)
Conductor: Riccardo Chailly
Orchestra/Ensemble: Royal Concertgebouw Orchestra
Period: 20th Century
Written: Switzerland
6. Pétrouchka by Igor Stravinsky
Conductor: Riccardo Chailly
Orchestra/Ensemble: Royal Concertgebouw Orchestra
Period: 20th Century
Written: Switzerland
7. Capriccio for Piano and Orchestra by Igor Stravinsky
Performer: Olli Mustonen (Piano)
Conductor: Vladimir Ashkenazy
Orchestra/Ensemble: Deutsches Symphonie-Orchester Berlin
Period: 20th Century
Written: 1928-1929; France
Date of Recording: 1992
Venue: Schauspielhaus, Berlin
Length: 17 Minutes 20 Secs.
8. Movements for Piano and Orchestra by Igor Stravinsky
Performer: Olli Mustonen (Piano)
Conductor: Vladimir Ashkenazy
Orchestra/Ensemble: Deutsches Symphonie-Orchester Berlin
Period: 20th Century
Written: 1961; USA
Date of Recording: 1992
Venue: Schauspielhaus, Berlin
Length: 9 Minutes 37 Secs.
9. Scherzo à la russe by Igor Stravinsky
Conductor: Bernard Haitink
Orchestra/Ensemble: Berlin Philharmonic Orchestra
Period: 20th Century
Written: 1943-1944; USA
10. Scènes de ballet by Igor Stravinsky
Conductor: Bernard Haitink
Orchestra/Ensemble: Berlin Philharmonic Orchestra
Period: 20th Century
Written: 1944; USA
Date of Recording: 1989
11. Apollon musagète by Igor Stravinsky
Conductor: Riccardo Chailly
Orchestra/Ensemble: Royal Concertgebouw Orchestra
Period: 20th Century
Written: France
12. Scherzo fantastique, Op. 3 by Igor Stravinsky
Conductor: Vladimir Ashkenazy
Orchestra/Ensemble: St. Petersburg Philharmonic Orchestra
Period: 20th Century
Written: 1907-1908; Russia
13. Scherzo fantastique, Op. 3 by Igor Stravinsky
Conductor: Vladimir Ashkenazy
Orchestra/Ensemble: St. Petersburg Philharmonic Orchestra
Period: 20th Century
Written: 1907-1908; Russia
Date of Recording: 11/1994
Venue: Philharmonic Hall, St. Petersburg
Length: 11 Minutes 2 Secs.
14. Symphony no 1 in E flat major, Op. 1 by Igor Stravinsky
Conductor: Vladimir Ashkenazy
Orchestra/Ensemble: St. Petersburg Philharmonic Orchestra
Period: 20th Century
Written: 1905-1907; Russia
Date of Recording: 05/1995
Venue: Philharmonic Hall, St. Petersburg
Length: 35 Minutes 5 Secs.
15. Fireworks, Op. 4 by Igor Stravinsky
Conductor: Vladimir Ashkenazy
Orchestra/Ensemble: St. Petersburg Philharmonic Orchestra
Period: 20th Century
Written: 1908; Russia
Date of Recording: 05/1995
Venue: Philharmonic Hall, St. Petersburg
Length: 3 Minutes 42 Secs.
16. Les noces by Igor Stravinsky
Performer: Galina Bojko (Soprano), L'udovit Ludha (Tenor), Margarita Maruna (Mezzo Soprano),
Egils Silins (Bass Baritone)
Conductor: Vladimir Ashkenazy
Orchestra/Ensemble: Deutsches Symphonie-Orchester Berlin, Piano Circus, Ernst Senff Chorus
Period: 20th Century
Written: Switzerland
17. Orpheus by Igor Stravinsky
Conductor: Vladimir Ashkenazy
Orchestra/Ensemble: Deutsches Symphonie-Orchester Berlin
Period: 20th Century
Written: 1947; USA
18. Jeu de cartes by Igor Stravinsky
Conductor: Vladimir Ashkenazy
Orchestra/Ensemble: Deutsches Symphonie-Orchester Berlin
Period: 20th Century
Written: 1937; France
19. Agon by Igor Stravinsky
Conductor: Vladimir Ashkenazy
Orchestra/Ensemble: Deutsches Symphonie-Orchester Berlin
Period: 20th Century
Written: 1957; USA
20. Le sacre du printemps by Igor Stravinsky
Conductor: Riccardo Chailly
Orchestra/Ensemble: Cleveland Orchestra
Period: 20th Century
Written: 1911-1913
Date of Recording: 11/1985
Venue: Masonic Auditorium, Cleveland, Ohio
Length: 32 Minutes 46 Secs.

Notes and Editorial Reviews
Some reviews of the original recordings that make up this set:

Apollon musagete
"Apollon musagete is of course something else again and Chailly takes the lyrical line, pointing without punching and allowing his excellent strings their head. The coda is jaunty, the “Apotheose” suitably mysterious and “Variation d'Apollon” features fine solo work from the orchestra's leader Jaap van Zweden. Viable alternatives include a leaner, more ascetic reading under Salonen and Stravinsky's eloquent stereo version but Chailly balances gracefulness with tonal substance and his engineers relate the whole story in glorious sound. A super disc."
-- Gramophone [1/1998]

Scènes de ballet
"Like Bernstein, Haitink has decided that Stravinksy's Scénes de ballet—his one and only encounter with Broadway—was a fitting side-show to set alongside the main attraction. And he responds eagerly to this lively, off-beat curio, Stravinsky's neo-classical ballet aspirations wilfully soured with a pinch of burlesque. I particularly like the Pas de deux with its brassily nostalgic trumpet tune: Tchaikovskian grandiosity with the common touch—a faded opulence. I can just imagine what Robert Russell Bennett might have made of the orchestrations if Billy Rose had had his way, though I doubt very much that the Berlin Philharmonic would be partaking. They do so here with great aplomb."
-- Gramophone [10/1991]

Petrushka, Pulcinella
"So many recordings came and went during the past couple of decades that it's hard to remember which ones were really good. Certainly this Petrushka stands with the best. It has everything: fabulous playing, lively tempos in the crowd scenes in the first and fourth tableaux, and best of all, a keen attention to rhythm and phrasing that makes the melodies unforgettably vivid. Check out the Russian Dance, for example, for a telling example of how careful attention to accents gives the music an unusual degree of character.

Pulcinella is almost as good--an elegant, immaculately played performance, gracious where it needs to be but once again full of rhythmic spring in the quicker sections (the tarantella and finale are particularly splendid in this respect)."
-- David Hurwitz, ClassicsToday.com

Les noces
"Consider Stravinsky's Russian phase, and the three great ballets automatically spring to mind; Les noces ("The wedding"), however, tends to take a back seat. But when Stravinsky first played Les noces to Diaghilev in 1915, the latter apparently wept and said it was Stravinsky's most beautiful and purely Russian creation. So, first of all, bravo to Decca and Ashkenazy for coupling The Rile and Les noces - the first time they have been issued together on disc.

Although the soloists in this new Les noces appear from their names to be Russian or Eastern European, do not expect the raw vocal authenticity of the Pokrovsky Ensemble (doubtless Stravinsky himself would never have expected that), or even quite the character of Anerl's participants. And don't expect the vivid immediacy and presence of those famous recordings of the past from Ancerl, Bernstein and the composer. This is an expertly balanced and decently set back concert presentation of a well-drilled ensemble performance, with subtleties of texture and dynamics (and their consequent expressive rewards) that completely pass Pokrovsky by (and to a lesser extent, Stravinsky and Anèerl). The choir's pitching of some of the semiquavers can be approximate (nothing unusual!) but their accents are especially well observed. The catalogue certainly has room for a Les noces such as this."
-- JS, Gramophone [9/1996]

Rite of Spring
"On its original 1987 release this CD bore a sticker that shouted "Sonic Boom", and anyone listening would conclude that this referred to the bass drum, which is given prominence in Decca's impressively hi-fi yet mostly natural-sounding recording. The Cleveland Orchestra delivers a Rite of Spring of exceptional virtuosity, with playing that is even more incisive than on the orchestra's previous recording led by Lorin Maazel. This most likely has to do with Maazel adopting a more romantic, interventionist approach, whereas Riccardo Chailly gives us unswerving drive and raw energy. It's a reading that occasionally gives short-shrift to Stravinsky's atmospheric touches, but boy, is it exciting."
--Victor Carr Jr, ClassicsToday.com

Complete Review:

Don't you just hate it when an otherwise worthwhile collection is undermined by just plain label stupidity? I don't know if there's anyone left at Universal who even knows what they have in their own catalog. On purely musical grounds, this really is an excellent set, but it contains works that are neither symphonies nor ballets (Movements for piano and orchestra), and it does not contain the complete ballets. Danses concertantes is missing, despite the fact that Decca (never mind Universal) has several versions in its catalog, while The Fairy's Kiss (which Universal also has complete) is represented only by the Divertimento for orchestra. The Song of the Nightingale and Capriccio for piano and orchestra are rightly included as they were staged as ballets, but then why leave out the Violin Concerto, which Balanchine choreographed as early as the 1940s?

So much for the contents. As for the performances, Dutoit's complete Firebird is good, but it would have been better to have either Dorati's Mercury Living Presence recording or, if more modern sound is essential, Dohnányi's fabulous and tremendously underrated Vienna recording. The most famous ballets (Petrushka, The Rite of Spring, Apollo, Pulcinella), as well as The Song of the Nightingale and Symphony of Psalms receive superb performances by Chailly. His Cleveland Rite, in particular, is devastatingly powerful. Most of the other works, including the symphonies, Les Noces, Agon, and Orpheus, are pretty much equally well done by Vladimir Ashkenazy, and it's good to have these underrated performances available again. Bychkov does the Divertimento, Haitink the Scènes de ballet and the Scherzo à la Russe. In short, this is an excellent set for what it is; it just isn't quite what it claims to be!

-- David Hurwitz, ClassicsToday.com

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