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stravinsky, igor  -  Boulez conducts stravinsky / pierre boulez, chicago symphony orchestra, cleveland orchestra

 
34.99 € - 43%
19.99 €
  • Format : CD x 6 Box

  • Etat général : original neuf
  • Etat pochette : S (?)
  • Etat disque : S (?)

  • Label : DGG 477 8730
  • Pressage : UPC/EAN: 028947787303 - EU
  • Année : 2010
  • Commentaire : Boulez Conducts Stravinsky / Boulez,Pierre Release Date: 04/10/2012 Label: ... Voir plus bas

  • Quantité disponible : 1
 
Commentaire du vendeur :
Boulez Conducts Stravinsky / Boulez,Pierre

Release Date: 04/10/2012
Label: Deutsche Grammophon Catalog #: 477 8730 Spars Code: DDD
Composer: Igor Stravinsky, Alban Berg, Hugo Wolf
Performer: Christopher Hanulik, Franklin Cohen, David McGill, Michael Sachs, ...
Conductor: Pierre Boulez
Orchestra/Ensemble: Chicago Symphony Orchestra, Cleveland Orchestra, Cleveland Orchestra Chorus, ...
Number of Discs: 6
Length: 5 Hours 53 Mins.

Works on This Recording
1. Firebird by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Chicago Symphony Orchestra
Period: 20th Century
Written: Russia
Date of Recording: 12/1992
Venue: Orchestra Hall, Chicago
Length: 46 Minutes 9 Secs.
2. Fireworks, Op. 4 by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Chicago Symphony Orchestra
Period: 20th Century
Written: 1908; Russia
Date of Recording: 12/1992
Venue: Orchestra Hall, Chicago
Length: 3 Minutes 54 Secs.
3. Etudes (4) for Orchestra by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Chicago Symphony Orchestra
Period: 20th Century
Written: 1928/1952; France
Date of Recording: 12/1992
Venue: Orchestra Hall, Chicago
Length: 9 Minutes 36 Secs.
4. Pétrouchka by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Cleveland Orchestra
Period: 20th Century
Written: Switzerland
Date of Recording: 03/1991
Venue: Masonic Auditorium, Cleveland
Length: 34 Minutes 58 Secs.
5. Le sacre du printemps by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Cleveland Orchestra
Period: 20th Century
Written: 1911-1913
Date of Recording: 03/1991
Venue: Masonic Auditorium, Cleveland
Length: 33 Minutes 29 Secs.
6. Chant du rossignol by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Cleveland Orchestra
Period: 20th Century
Written: 1917; Switzerland
Date of Recording: 02/1996
Venue: Masonic Auditorium, Cleveland, Ohio
Length: 20 Minutes 32 Secs.
7. Scherzo fantastique, Op. 3 by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Cleveland Orchestra
Period: 20th Century
Written: 1907-1908; Russia
Date of Recording: 11/1994
Venue: Masonic Auditorium, Cleveland, Ohio
Length: 11 Minutes 28 Secs.
8. Le roi des étoiles by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Cleveland Orchestra, Cleveland Orchestra Chorus
Period: 20th Century
Written: 1911-1912; Russia
Date of Recording: 02/1996
Venue: Masonic Auditorium, Cleveland, Ohio
Length: 5 Minutes 30 Secs.
Language: French
9. L'histoire du soldat: Suite for Chamber Ensemble by Igor Stravinsky
Performer: Christopher Hanulik (Double Bass), Franklin Cohen (Clarinet), David McGill (Bassoon),
Michael Sachs (Cornet), James DeSano (Trombone), Richard Weiner (Percussion),
William Preucil (Violin)
Conductor: Pierre Boulez
Orchestra/Ensemble: Cleveland Orchestra members
Period: 20th Century
Written: 1918; Switzerland
Date of Recording: 02/1996
Venue: Masonic Auditorium, Cleveland, Ohio
Length: 26 Minutes 57 Secs.
10. Symphony of Psalms by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Berlin Philharmonic Orchestra, Berlin Radio Chorus
Period: 20th Century
Written: 1930/1948; France
Date of Recording: 02/1996
Venue: Berlin Philharmonic Hall, Germany
Length: 19 Minutes 59 Secs.
Language: Latin
11. Symphony in Three Movements by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Berlin Philharmonic Orchestra
Period: 20th Century
Written: 1942-1945; USA
Date of Recording: 02/1996
Venue: Berlin Philharmonic Hall, Germany
Length: 22 Minutes 39 Secs.
12. Symphonies of Wind Instruments by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Berlin Philharmonic Orchestra
Period: 20th Century
Written: 1920; France
Date of Recording: 02/1996
Venue: Berlin Philharmonic Hall, Germany
Length: 9 Minutes 16 Secs.
13. Concerto in E flat major "Dumbarton Oaks" by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1938; France
Date of Recording: 12/1981
Venue: Georges Pompidou Center, IRCAM, Paris
Length: 15 Minutes 19 Secs.
14. Instrumental Miniatures (8) by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1962; USA
Date of Recording: 11/1980
Venue: Georges Pompidou Center, IRCAM, Paris
Length: 7 Minutes 18 Secs.
15. Ebony Concerto by Igor Stravinsky
Performer: Michel Arrignon (Clarinet)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1945; USA
Date of Recording: 12/1981
Venue: Georges Pompidou Center, IRCAM, Paris
Length: 8 Minutes 55 Secs.
16. Pieces (3) for Clarinet solo by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1919; Switzerland
17. Pastorale for Soprano, Oboe, English Horn, Clarinet and Bassoon by Igor Stravinsky
Performer: Phyllis Bryn-Julson (Soprano)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1923; France
18. Epitaphium by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1959; USA
19. Elégie for Viola solo by Igor Stravinsky
Performer: Gérard Caussé (Viola)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1944; USA
20. Double Canon for String Quartet by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1959; USA
21. Concertino for String Quartet by Igor Stravinsky
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1920; France
22. Variations for Orchestra "Aldous Huxley in memoriam" by Igor Stravinsky
Performer: Phyllis Bryn-Julson (Soprano)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1963-1964; USA
23. Three Songs from William Shakespeare by Igor Stravinsky
Performer: Ann Murray (Mezzo Soprano)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1953; USA
24. Russian Songs (4) by Igor Stravinsky
Performer: Phyllis Bryn-Julson (Soprano)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1918-1919; Switzerland
25. Pribaoutki by Igor Stravinsky
Performer: John Shirley-Quirk (Baritone)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1914; Switzerland
26. Poems (2) of Konstantin Bal'mont by Igor Stravinsky
Performer: Phyllis Bryn-Julson (Soprano)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1911/1954; Russia
27. Poèmes (2) de Paul Verlaine, Op. 9 by Igor Stravinsky
Performer: John Shirley-Quirk (Baritone)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1910/1951; Russia
28. Little Songs (3) "Recollections of my childhood" by Igor Stravinsky
Performer: Phyllis Bryn-Julson (Soprano)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1906/1913; Russia
29. Japanese Lyrics (3) by Igor Stravinsky
Performer: Phyllis Bryn-Julson (Soprano)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1912-1913; Switzerland
30. Elegy for JFK by Igor Stravinsky
Performer: John Shirley-Quirk (Baritone)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1964; USA
31. Spanisches Liederbuch: no 9, Herr, was trägt der Boden hier by Hugo Wolf
Performer: Ann Murray (Mezzo Soprano)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: Romantic
Written: 1889; Vienna, Austria
32. Spanisches Liederbuch: no 10, Wunden trägst du, mein Geliebter by Hugo Wolf
Performer: Ann Murray (Mezzo Soprano)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: Romantic
Written: 1899; Vienna, Austria
33. Cat's Cradle Songs (4) by Igor Stravinsky
Performer: Phyllis Bryn-Julson (Soprano)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1915-1916; Switzerland
34. In memoriam Dylan Thomas by Igor Stravinsky
Performer: Robert Tear (Tenor)
Conductor: Pierre Boulez
Orchestra/Ensemble: Ensemble InterContemporain
Period: 20th Century
Written: 1954; USA

Notes and Editorial Reviews
Reviews from some of the original recordings that make up this set:

Firebird, Fireworks, Etudes

Boulez's readings of the last decade are often warmer, more relaxed than his early ones, and broadly these performances fit that mould. Just occasionally, though, I felt this complete Firebird to be a bit icy; but Boulez could never be as Romantic as, say, Rattle on EMI. For almost half an hour, indeed, I needed to turn up the volume more than usual, the general natural balance, using the 4D Audio Recording system, occasionally seeming on the recessed side. But then the Magic Carillon and the appearance of Kashchei's monsters suddenly overwhelmed me: a splendid moment, not least because it both surprises and seems perfectly integrated.

From a magical and lugubrious ‘Introduction' to a ferocious ‘Infernal Dance', this performance in fact offers many insights. The playing is marvellous, with splendidly characterised and well polished solos, incisive ensemble attack, and a sustained brilliance without brashness. And although even Boulez can't disguise the essentially episodic nature of this work, he manages to bring a typically thoughtful, but never too obviously calculated sense of tension to the balance of sections; there's a strong overall feeling about the structure, as well as expert attention to timbral light and shade.

This almost ideal combination of remarkable orchestral virtuosity and intelligent, fresh thinking makes the ‘fillers' feel really substantial too. Richard Taruskin's scholarly but highly readable booklet notes provide a significant gloss on, for example, The Firebird 's debt to the Russian tradition. Highly recommended.

Performance: 5 (out of 5), Sound: 4 (out of 5)


-- Keith Potter, BBC Music Magazine

Symphonies

The Symphony in Three Movements brings a violent approach from Boulez, with the Berliners relishing the jazzy outbursts of the outer movements and the warmth of the central slow movement. An unexpected but revelatory disc. The results are refined rather than biting in the Symphony of Psalms and Wind Symphonies, where Boulez's restraint combined with beautifully molded ensemble gives way to dramatic power only at key climaxes. The poignancy of the Wind Symphonies is reinforced, and the beauty of the Symphony of Psalms culminates in a glowing account of the final apotheosis, one of Stravinsky's most sublime inspirations.

-- Penguin Guide to Recorded Classical Music, 2008 Edition

Pétrouchka, Le Sacre Du Printemps

"Both of these works are central to the 20th century's orchestral canon, and Pétrouchka has left its stamp on a wide range of music since its composition, including some of Tom and Jerry's best soundtracks. Le Sacre du printemps created a riot on its first performance, and like Picasso's Les Demoiselles d'Avignon, helped push the world of the arts kicking and screaming into the hot and bloody machinery of the 20th century. Boulez once again gives us such a focus of accuracy that, familiar with the pieces, one can have a real sense of vertigo, gazing into each musical moment with both microscopic detail and a grand feel of scale and occasion. The burlesque of Pétrouchka is portrayed in an almost cinematically spectacular style in this recording, and the music responds well to such a succulently delicious recording. Rawness and energy characterise Stravinsky's own 1960 recording, and if you can live with a less refined orchestra and occasionally slightly overloaded old analogue tape - congested rather than distorting - then the old original will probably impress just as much. There are some marvellously luminous benefits from modern technology of course. That glorious Shrovetide Fair rarely sounded so good, and as ever The Cleveland Orchestra displays its sheer class at every turn of the page.

This recording of Le Sacre du printemps under Boulez has been criticised in the past for its rather leisurely tempi, and once again that undertow of threat and danger which makes this music so potent is more of a latent undertone than a direct assault on the senses. Boulez does have an authentic sense of the elemental however, and as with The Firebird builds his performance with a wider sense of architecture, saving the main impact of the musical message for true climaxes. This makes Stravinsky's 1960 Columbia Symphony experience a good deal more gritty and intense from start to finish, but doesn't mean that Boulez can't pack a punch when the score demands. The question is one of believability - of conviction that you can imagine all those primeval rituals and games, or someone literally dancing themselves to death. The sheer genius of the score will always bring a tear to my eye, and does in both cases."

-- Dominy Clements, MusicWeb International

Songs

This is one of many Stravinsky recordings first issued in his centenary year, and its remastered reappearance is most welcome. The majority of the songs included come from the two phases of Stravinsky's life which Boulez has always found most sympathetic—the early 'nationalism' and the late serialism. The performances are in general exemplary in their precision and avoidance of sentimentality.

Phyllis Bryn-Julson brings a particularly attractive astringency to the sets of folklike or nursery songs where it would be all too easy for the singer to adopt an archly over-emphatic manner, and she blends well with the instruments, notably in the ravishing textures of the Three Japanese lyrics. Ann Murray is no less idiomatic in the Cat's Cradle Songs and, later, in the very different world of the Shakespeare settings. Even the smallest of these pieces has some telling instrumental detail, revealing how important such collections were to Stravinsky, especially in the years after The Rite of Spring, as a means of refining his still evolving musical language.

John Shirley-Quirk's comical gruffness is perfect for the Pribaoutki, and both he and Robert Tear manage the tricky contours of the later pieces (Elegy for J.F.K., In memoriam Dylan Thomas) in fine style. Only in Paracha's song from Mavra does Boulez set too brisk a tempo: at the other extreme, the late Wolf arrangements are if anything too long drawn out. This is a valuable collection of, on the whole, excellent recordings, even though Robert Tear's voice sounds rather too set apart from the instruments in the Dylan Thomas piece.

-- A.W., Gramophone

Review by Blair Sanderson [-]
The years have seen Pierre Boulez record for CBS, Erato, EMI, and Philips, among other labels, but his most consistent and critically praised work has appeared on Deutsche Grammophon, where he has conducted the Chicago Symphony Orchestra, the Cleveland Orchestra, the Berlin Philharmonic, and his own Ensemble InterContemporain in many successful performances. These ensembles are heard on this trimline, six-CD box set of Igor Stravinsky's major works, which brings together Boulez's recordings of L'oiseau de feu, Petrushka, Le Sacre du printemps, L'histoire du Soldat, the symphonies, concertos, and other works, recorded between 1980 and 1996. As one of the leading champions of modernism, first as a composer and essayist, then as a prominent conductor, Boulez is regarded as an authority on Stravinsky's oeuvre, and it is difficult to imagine many conductors who have a better understanding of the technical and stylistic issues that affect performances. Boulez is also famous for his precision and meticulousness, which make the details stand out clearly in the rhythmically complex and texturally dense orchestral scores of the ballets, and yet seem so delicate and exact in the concertos and pieces for smaller ensembles. That Boulez has inspired a devoted international following is beyond question, so this collection of some of his finest recordings will appeal to his admirers and the wider circle of Stravinsky fans.

The Guardian
31st December 2009
****
“These later digital recordings are more refined and detailed than those of the earlier generation, and with three of the world's greatest orchestras...the playing is outstanding.”

The Independent
1st January 2010
*****
“Few conductors have invigorated repertoires with the verve that Pierre Boulez has brought to his interpretations of Stravinsky, compiled here across six CDs...Bristling with energetic innovation... it's an absolute bargain.”

The Observer
10th January 2010
“...some of the greatest works of the 20th century, played by some of their greatest interpreters, led by one of our greatest conductors: need one say more?”

Produktinfo

Zum ersten Mal erscheinen sämtliche Stravinsky-Aufnahmen von Boulez für DG in einer Box. Inklusive der drei großen »russischen« Ballette »Feuervogel«, »Petrushka« und »Le sacre du printemps«. Weiterhin eine Symphonien-CD, zwei CDs mit Solo-, Kammer- und Vokalmusik. Eine Schnäppchen für Sammler wie auch für Entdecker.

Pressestimmen:

»Als Komponist und Dirigent hat Boulez wie kein anderer definiert, was moderne Musik ist und wie sie klingen sollte.« The Guardian

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