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ID: MELCD1001959
CDs: 2
Type: CD
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Collection: Ballet Music
Subcollection: Orchestra
In spring of 1896, Alexander Glazunov received a commission from the director of the St. Petersburg Imperial Theatres Ivan Vsevolozhsky to compose the score to the ballet Raymonda. Despite being busy (Glazunov was already a well-known composer at the time whose works were loved by the public, an author of five symphonies, chamber and instrumental pieces), Glazunov found the offer interesting and agreed. "Acceptable orders to write compositions did not tie me. On the contrary, they heartened me. For example, I composed the ballet Raymonda quickly enough with special fervour and enthusiasm," he wrote later. It was the composer's first experience with a score for a ballet performance. However, he had had some creative experience of realizing the principles of dancing. It would suffice to recall his previous opuses such as Characteristic Suite and Ballet Suite, and concert waltzes. The libretto was written by Princess Lidya Pashkova, a traveler and columnist of the Parisian newspaper Le Figaro, who also wrote novels and librettos. The script plot belonged to Marius Petipa, an illustrious ballet master who staged ballets in Russia in the second half of the 19th century. The story involved characters who actually existed (Jean de Brienne and King Andrew) and fictional ones, and was historically inaccurate. But that was not a serious obstacle for the composer who started to think over the first ten numbers of Raymonda and wrote them down in summer of 1897 before he even received the script. The first two acts were finished in August, and the third one in autumn of 1897. The score autograph has the composer's inscription: "The ballet finished 21 October, 1897. Orchestrated within 1 year." While working on the music, Glazunov closely cooperated with the author of the script. Marius Petipa gave the composer a thoroughly developed plan of each scene with tempos, measures, and even the number of times. In that way Glazunov perceived the nature of choreography. Spending a great deal of time at the theatre working with the ballet dancers, musicians and the ballet master, he left all his other business behind to a great chagrin of Mitrofan Belyayev, who was Glazunov's partner in not only the same music circle, but in publishing activities as well (Glazunov helped Belyayev publish works by the contemporary Russian composers in Leipzig). Pyotr Lambin, Orest Allegri and Konstantin Ivanov worked on the sketches of the ballet set. Many of the costumes for the first staging were created by Ivan Vsevolozhsky himself. The premiere took place on 7 (19) January, 1898, on the stage of the Mariinsky Theatre and was conducted by Riccardo Drigo. The main parts were performed by Pierina Legnani as Raymonda, Sergei Legat as Jean de Brienne and Pavel Gerdt as Abderakhman. The performance was a real triumph. The encores began as early as after the first act. Glazunov was presented a laurel wreath, and the artists read a letter of greetings to him. One of the reviews explained the success of the ballet as a combination of three factors - "beautiful, melodic and captivating music, the ballet master's unfading talent and the artists' wonderful performance." Glazunov's progress in symphonic music obviously influenced the music of the ballet with its principles of through development and diverse techniques of orchestral writing. The music plays a huge role in Raymonda (in that way, Glazunov continued the reforms in the art of ballet initiated by Pyotr Tchaikovsky). The musical content facilitates the expansion of the plot line, at times prevailing over the plot thanks to its depth and vivid development of the musical characteristics so important to the dramaturgic function of dance and pantomime. The dances in Raymonda are not illustrative yet efficient as they embody the situation, the state and disposition of the characters. The continuing symphonic development, wealth of melodic patterns and organic integrity of the work are what help us perceive the performance as completely as possible. The destiny of Raymonda has been happy. The ballet has been staged many times both in the Soviet Russia and overseas. Synopsis France in the time of crusades Act I Tableaux 1 Pages and court ladies have gathered in a big castle of Countess Sybille de Doris to congratulate the countess's niece Raymonda on her name day. Awaiting Raymonda, the pages play the lutes and viols, some compete in fencing. A few girls leave their fancywork to dance with the pages. Soon, Countess Sybille appears. Her coming ruins the common merriment. The countess tells the young ones about the foremother of the Doris family, who was known as the White Lady. It is her statue that stands on the terrace. The White Lady does not stand idlers and can strictly punish those who do not fulfill their duties, but she always protects the members of her household, and every time one of them is in danger she shows up and warns. The young people do not take the countess's words seriously and continues to amuse themselves. Before long, a messenger appears sent by Jean de Brienne, Raymonda's fiancé, who is crusading with Andrew II of Hungary. The messenger hands Raymonda a letter from de Brienne, in which he informs Raymonda that he is returning home in triumph and he will be at the Doris castle the next day. Raymonda rejoices. She orders a sumptuous reception in honour of her fiancé. Vassals and peasants congratulate Raymonda on her name day, and dances begin. The day is over and the evening comes. Exhausted, Raymonda falls asleep on the terrace. Tableaux 2 Illuminated by the light of the moon, the White Lady comes down from her pedestal. With a gesture, she orders Raymonda to follow her. The garden around the castle gets covered in fog. Tableux 3 The garden has transformed. Jean de Brienne appears before the amazed Raymonda. The beloved are happy. Suddenly, she sees Abderakhman who has taken the place of her fiancé. The White Lady tells Raymonda to be cautious. Abderakhman declares his passionate love for her, but she is frightened. Corpse lights and imps surround her. Raymonda is perturbed. It is dawning. The pages and maids of honour come and find Raymonda unconscious on the terrace. Act II Sybille and Raymonda surrounded by the pages, maids of honour and guests come out to the courtyard. Fanfares sound announcing the arrival of new guests. However, it is not Jean de Brienne, but Saracen Abderakhman accompanied by his suite. Raymonda recognises the stranger seen in her dream. She is agitated, and Sybille reassures her. Captivated by Raymonda's beauty, Abderakhman speaks of his love for her. She is frightened and rejects him with contempt but feels attracted to him at the same time. Dancing goes on. Wishing to impress Raymonda, Abderakhman calls his servants. Jugglers, Arab boys and Saracens appear. The dances follow one after another becoming bacchanal. Using the bustle, Abderakhman's servants abduct Raymonda. But at that moment, Jean de Brienne and the knights stands on the Saracens' way. Raymonda is freed. King Andrew II of Hungary allows de Brienne to challenge Abderakhman to a duel, during which de Brienne kills Abderakhman. De Brienne requests the king to be present at his wedding. The king agrees. The procession enters the castle. Act III The garden in Jean de Brienne's castle. A celebration for the wedding of de Brienne and Raymonda. King Andrew II comes out surrounded by the retinue and guests. Everyone greets the bride and groom. One dance is followed by another. A knightly tournament on the occasion of the wedding. The anxiety of the past is forgotten. |
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ID: PTC5186191
CDs: 2
Type: SACD
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Subcollection: Choir
Multichannel Hybrid SACD - DSD |
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ID: QTZ2045
CDs: 2
Type:
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Subcollection: Violin
This unique CD and DVD set features recordings by one of the UK's outstanding young violinists, Ruth Palmer, of two major works for the violin by Dmitri Shostakovich. It also includes a documentary film by Tim Meara, A People's Music, in which Ruth travels to Russia to find out more about the origins of the music and to discover what led Shostakovich to write these two works.
Also included is a documentary film on DVD by Tim Meara, A People's Music, in which Ruth travels to Russia to find out more about the origins of the music and to discover what led Shostakovich to write these two works.
CD:
Shostakovich - Violin Concerto No 1 in A minor Op 77 (Op 99)
Shostakovich - Sonata for Violin & Piano Op 134
Ruth Palmer - Violin
Philharmonia Orchestra
Benjamin Wallfisch - Conductor
Alexei Grynyuk - piano
DVD:
A People's Music
A film by Tim Meara
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| 29.00 eur Buy |
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ID: MELCD1000906
CDs: 2
Type: CD
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Collection: Ballet Music
Subcollection: Orchestra
Prokofiev:
Cinderella, Op. 87
On the Dnieper, ballet, Op. 51
USSR Ministry of Culture Symphony Orchestra, Gennady Rozhdestvensky |
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ID: MELCD1002215
CDs: 2
Type: CD
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Collection: Orchestral Works
Subcollection: Orchestra
On the threshold of the 40th anniversary of death of the prominent 20th century French composer André Jolivet, Firma Melodiya presents a set of works by the French master.
“I want music to have its original ancient sense back, when it was an expression of a magical and invocating element of a religion which united people”, Jolivet wrote.
He was born in Paris to a family of an artist and a pianist, and became known as a member of the composers’ group La jeune France (Young France), which also included Olivier Messiaen. Edgard Varèse, one of the biggest master of musical avant-garde, was Jolivet’s teacher. Arnold Schoenberg’s works also had a certain influence on the young composer.
Jolivet’s works combined diverse features of 20th century art - on the one hand, new musical means (polytonality, atonality), echoes of jazz and non-European musical cultures and, on the other hand, choral polyphony of the renaissance era, and also clarity and accuracy of statement not devoid of theatrical affectation so characteristic of French art.
André Jolivet’s works are performed by well-known Soviet and Russian musicians such as Mstislav Rostropovich (cello), Alexander Korneyev (flute), Valery Popov (bassoon) and others.
Radio France Philharmonic Orchestra, Ensemble of Soloists of the USSR State Symphony Orchestra, State Symphony Orchestra of the Latvian SSR, Moscow Radio Symphony Orchestra, André Jolivet (Composer), G. Rozhdestvensky (Conductor), V. Sinaisky (Conductor), A. Jolivet (Conductor) & 7 more
Jolivet:
Concerto for Flute and String Orchestra (1949)
Cello Concerto No. 2 (1966)
Concerto for Bassoon, String Orchestra, Harp and Piano (1954)
Concerto for Piano and Orchestra
Symphony No. 1
Five Ritual Dances
Rhapsody for Seven |
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ID: DPC099
CDs: 2
Type: CD
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Subcollection: Piano
Concert Program, originally released in 1995, has been re-mastered, repackaged and presented in this digipack double cd edition to coincide with the re-releases of both Piano Music (Simon Jeffes solo piano) and Union Cafe (Penguin Cafe Orchestra). All three are available now on the new Penguin Cafe Label.
This album is a live recording in the studio in real time - a concert without an audience.
The album contains excellent versions of all Penguin Cafe Orchestra classics.
This is the re-mastered version of the original 1995 release. |
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ID: DVD1705763
CDs: 1
Type: DVD
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Subcollection: Violin
1 Entry March
2 Trumpet Voluntary
3 At The Hunt / Auf Der Jagd
4 Facherpolonaise
5 Roses From The South / Rosen Aus Dem Suden
6 Heia In The Mountains / Heia In Den Bergen
7 Tales From The Vienna Woods / G'schichten Aus Dem Wienerwald
8 The Third Man / Der Dritte Mann
9 Comerades, This Is The Life For Me / Freunde, Das Leben Ist...
10 The Girls From The "Chantant"
11 The Gypsy Princess / Die Csardasfurstin
12 Without A Care! / Ohne Sorgen
13 Feast Of Fire / Feuerfest
14 My Heart Will Go On (From Titanic)
15 Wenn Ich Mit Meinem Dackel
16 Heut' Kommen D'engerin Auf Urlaub Nach Wean
17 Spiel Mir Das Lied Von Gluck Und Treu
18 Emperor's Waltz / Kaiserwaltz
19 I Belong To Me / Ich Gehor Nur Mir
20 The Beautiful Blue Danube / An Der Schonen Blauen Donau
21 Radetzky March / Radetzkymarsch
22 Strauss & Co
23 Vienna, City Of My Dreams / Wien Du Stadt Meiner Traume
24 Music, Music
25 Anton Aus Tirol
26 Donauwalzer / Danube Waltz
27 Strauss Party
28 Adieu, Little Captain Of My Heart / Adieu, Mein Kleiner Gardeoffizier
Region Code: PAL.Region 0, Plays in all territories
Format: DVD- 9 - STANDARD
Color mode: Colour
Screen (Picture) Format: 16:9
Language: English, Deutsch
Subtitles: English, francais, Nederlands
Audio: DD 5.1, DD 2.0
Release Date: 29 Nov 2010
Time: 150 min. |
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ID: MELCD1002095
CDs: 2
Type: CD
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Collection: Orchestral Works
Subcollection: Orchestra
This Melodiya release, dedicated to the bicentennial of the composer's birth, features widely popular overtures and entr'actes from Wagner's operas, which became part of the repertoire of such outstanding conductors as Evgeny Svetlanov, Gennady Rozhdestvensky, David Oistrakh, Evgeny Mravinsky and others.
Richard Wagner
1. Overture to Rienzi
2. Faust Overture
3. Overture to The Flying Dutchman
4. Overture to Tannhäuser
5. Ride of the Valkyries from The Valkyrie
6. Forest Murmurs from Siegfried
7. Funeral March from Twilight of the Gods
CD2
1. Prelude to Lohengrin
2. Entr'acte to Act 3 of Lohengrin
3. Siegfried's Rhine Journey from Twilight of the Gods
4. Overture to The Mastersingers of Nuremberg
5. Prelude and Isolde's Death from Tristan and Isolde
6. Overture to Parsifal |
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ID: MELCD1001946
CDs: 2
Type: CD
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Collection: Orchestral Works
Subcollection: Orchestra
This collection includes some lesser known works by Borodin, including his Petite Suite for piano which is performed here in Glazunov’s instrumentation. Symphony No.3 was never finished. Borodin often played it to his friends and we can listen to it thanks to Glazunov writing down the first movement. All the works are interpreted by the expert Russian conductor Svetlanov.
Symphony No. 1 by A. Borodin composed in 1862-1867 and performed in 1869 is original in the image content. The music, epic according to its scope and Russian by nature, bears the genuine symphonism of the development of the major thematic grain. It was conceived in the land of endless valleys and grand deliberate rivers, it evokes in one's imagination the pictures of the spring waters, awakening of the life forces. The third movement of the symphony has the Oriental intonations. It took a long time (from 1869 to 1876) for Borodin to write Symphony No. 2. The premiere performance took place in 1877. The symphony was composed parallel with the opera “Prince Igor” which is close to the symphony by its imagery and character. The symphony was later called “Heroic” which is in perfect harmony with the music, full of spontaneous force, audacity and scope, the music monumental by its proportions, original by its image con tent which evokes in memory the Russian bylinas. Each of four movements is individual by nature: powerful, ponderous march of Allegro, irresistible in its flight Scherzo, songful Andante, reminding of the legendary singer Bayan, solemn Finale all this is united in the whole monumentary fresco painted with the bold wide strokes. Alexander Borodin began to work over the Third Symphony in winter 1883-84. The work over the Symphony continued up to the end of his life. He often played music of the Symphony to his friends, but he didn't write it down and unfortunately it remained unfinished. Now we can listen to it thanks to A. Glazunov who remembered the author's performing of the first movement of the Symphony and used Borodin's Scherzo, intended initially for a Quartet, for the second movement according to A. Borodins will. As a result of this now we have the score of two movements of the Third Symphony known as “Unfinished”. First the Symphony was performed on October 24, 1887 at a concert dedicated to A. Borodin's memory. The "Petite Suite" for Piano was written in 1885 in usual for the genre inter change of programme and dance miniatures. It is quite an original composition because of expressive manners and innovatory approaching of art task. "Petite Suite" is recorded on this disc in A. Glazunov's instrumentation. In Finale he used music of Borodin's piano Scherzo, repeating it twice in different instrumentation. Orchestral version of the Suite was premiered on October 28, 1889 in St. Petersburg, performed by the orchestra under Rimsky-Korsakov. Overture to the opera “Prince Igor” was written from memory and orchestrated by A. Glazunov, who heard its piano version in the author's performance. It is based on contrasts of Russian and oriental, polovtsian images, on opera's melodies and tunes. |
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ID: MELCD1001879
CDs: 2
Type: CD
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Collection: Symphony
Subcollection: Orchestra
This release features Schumann’s symphonies edited by George Szell.
These versions were a result of the conductor’s tremendous experience combined with a most delicate feeling for style and were the choice of Rozhdestevensky for these performances.
Schumann: Symphonies Nos. 1-4 (complete) edited by George Szell
"Among the German composers, the first place, after Beethoven, indisputably belongs to Schumann… Schumann's symphonies yield to Beethoven's Ninth only … in thought, his overtures are more diverse and deeper than Mendelssohn's ones," the Russian composer and music critic César Cui said about Robert Schumann's symphonic works. The composer's symphonic heritage includes four symphonies written within the 1840-1850s: symphony No. 1 in B flat major (known as Spring), Op. 38; symphony No. 2 in C major, Op. 61; symphony No. 3 "Rhenish" in E flat major, Op. 97; and symphony No. 4 in D minor, Op. 120. This Firma Melodiya release features Schumann's symphonies edited by George Szell and performed by the Estonian Symphony Orchestra conducted by the celebrated Gennady Rozhdestvensky. "The remarkable conductor George Szell made superb versions of Schumann's four symphonies. These recordings have been made based on his versions … they are a result of the conductor's tremendous experience combined with a most delicate feeling for style…" that's how the maestro explained his choice of Szell's versions. |
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