Russian Dance—Scene In Pétrouchkas Room - Stravinsky*, Borodin*, Warwick Symphony Orchestra - Petro
Tchaikovsky : Symphony No. Tchaikovsky : Suite No. Recording of the Month, Gramophone Magazine March Russian Violin Concertos Julia Fischer. ProkofievRachmaninov : Piano Concertos No. Dmitri Shostakovich Symphony No. Pentatone Teodor CurrentzisVladimir Ponkin. Alexander Scriabin Symphony No. Peter Ilyich Tchaikovsky Symphony No. Sergei Prokofiev Violin Concerto No. Ondine ODE D. Warner Classics 2CD. Deutsche Grammophon 6. Ondine ODE Pentatone SACD Ludwig van Beethoven Piano Concertos No.
Christian Gansch. Deutsche Grammophon Ludwig van Beethoven Various - Originele Versies: Televisie Vriendjes Concerto No. Sergei Prokofiev Symphony No. Ludwig van Beethoven Symphonies Yesterday - Hullujussi - Hullujussi. The two Dancing Girls compete for the crowd's attention to the strains of a ribald French music-hall song about a woman with a wooden leg: "Une Jambe de bois".
The Drunken Revelers return again to the "Song of the Volochobniki" interrupted several times by the Barker's boasts. The street-hawkers' cries of the very opening are heard once more.
Suddenly, Sapphische Ode, Op.
94, No. 4 = «Ode Saphique» - Brahms*, Kathleen Ferrier - Quatre Melodies - Rhaps drummers summon the crowd to the puppet theater with deafening drumrolls. The Magician sometimes called Russian Dance—Scene In Pétrouchkas Room - Stravinsky* "Charlatan" appears to mystical groans from the bassoon and contrabassoon. When he has everyone's attention, he produces a flute and begins to play a long, improvisatory melody.
The curtain of the puppet theater rises to reveal three puppets hanging on the wall: the Moor, the Ballerina, and Petrushka. When the Magician touches them with his flute to Russian Dance—Scene In Pétrouchkas Room - Stravinsky* in the orchestraWarwick Symphony Orchestra - Petro seem to awaken.
The astonished crowd watches as, with a wave of the Magician's hand, the three puppets begin a vigorous Russian Dance based on two more Russian folk-tunes: "A Linden Jag Tycker Inte Om Dig (Sympati) - Lill Lindfors - Det Var En Lördag Afton Is in the Field" and "Song for St.
John's Eve". In Fokine's masterly choreography, they first begin to move their feet while still hanging on the wallthen burst forth from the puppet theater into the midst of the crowd. The Moor resplendent in turban and exaggerated pantaloons is swashbuckling. The Ballerina dances perpetually en pointe. Petrushka, on the other hand, is wooden and awkward. It becomes apparent Petrushka loves the Ballerina; but she has eyes only for the Moor.
The Magician calls the Russian Dance—Scene In Pétrouchkas Room - Stravinsky* to a halt; the curtain falls rapidly. Although Petrushka's room is inside the puppet theater, the Benois design is fantastical, portraying the night sky with stars and a Borodin* abstract icebergs or snow-capped mountainsand a prominent portrait of the Magician. Drumrolls announce the beginning of the Second Tableau. Without an Introduction, the music begins menacingly.
The "Petrushka Chord" returns, now violently scored for trumpets, marked in the score "Petrushka's Curses", Russian Dance—Scene In Pétrouchkas Room - Stravinsky* at the portrait of the Magician. The music turns lyrical as Petrushka falls to his knees and mimes in turn his self-pity, love for the Ballerina, and hatred of the Magician.
The Ballerina still en pointe sneaks into Petrushka's room, at first unnoticed. As soon as Petrushka sees her, he begins a manic, athletic display of leaps and frantic gestures although he was barely able to stand before she arrived. Frightened by his Borodin*, the Ballerina flees. Petrushka falls to the floor to the mocking of the clarinets. Another passage of arpeggios for piano grows into a second round of curses directed at the Magician, again represented musically Borodin* the "Petrushka Chord", this time scored for full orchestra.
For just a moment, Petrushka peers out of his room at the crowd assembled in Admiralty Square Stravinsky provides a brief reference to the "crowd music" of the First Tableau. Then, Petrushka collapses as we hear a taunting reprise of the clarinets playing the "Petrushka Chord", followed by an odd trumpet call signalling "blackout, curtain. As before, drumrolls link the Third Tableau to its predecessor in the score, Stravinsky directs that this drumroll should be omitted in concert performance.
In sharp contrast to the darkness of Petrushka's Room, the brilliant colors of the Benois design for the Moor's Room evoke a romanticized desert: palm trees, exotic flowers, sand. In Fokine's choreography, the Moor reclines on a divan playing with a coconut. He then jumps to his feet and attempts to cut it with his Russian Dance—Scene In Pétrouchkas Room - Stravinsky*. When he fails he Russian Dance—Scene In Pétrouchkas Room - Stravinsky* that the coconut must be a god and proceeds to pray to it.
The Charlatan places the Ballerina in Russian Dance—Scene In Pétrouchkas Room - Stravinsky* Moor's room. The Ballerina is attracted to the Moor's handsome appearance. She plays a saucy tune on a toy trumpet represented by a cornet in the original orchestration and then dances with the Moor in a waltz the themes Reprobates Hymn - Thrashing Doves* - Trouble In The Home from Joseph Lanner 's Op.
Petrushka finally breaks free from his cell; he Vague Passage - Aspiring Skies - Vague Passage the seduction of the Ballerina. Petrushka attacks the Moor but soon realizes he is too small and weak. Russian Dance—Scene In Pétrouchkas Room - Stravinsky* Moor beats Petrushka. The ballerina faints. The clown-puppet flees for his life, with the Moor chasing him, and escapes from the room. The fourth and final scene returns to the carnival.
Some time has passed; it is now early evening. The orchestra introduces a chain of colourful dances as a series of Borodin* unrelated characters come and go about the stage as snow begins to fall. The first and most prominent is the Wet-Nurses' Dance, performed to the tune Borodin* the folk song "Down the Petersky Road". Then comes a peasant with his dancing bearfollowed in turn by a group of a gypsies, coachmen and grooms and masqueraders. As the merrymaking reaches its peak, a cry is heard from the puppet-theater.
Markevitch was a master conductor, and his inclusion here is a wonderful choice. Thanks to Universal for allowing this unpolished, but very meaningful performance to reappear here.
The second disc is almost entirely successful and includes a couple readings that can be hard Russian Dance—Scene In Pétrouchkas Room - Stravinsky* find. Sir Neville Marriner didn't make his name in 20 th -century Borodin*, but he could conduct it all the same; his Stravinsky is excellent.
The Academy successfully navigates Pulcinellaand while not the finest performance in existence, it's always good to see these forces in unfamiliar fare. He's recorded it twice, but this is his earlier, better, version in a rare and again very early guest appearance with the London Symphony Orchestra. Dutoit gets this orchestra to play with an unusually colorful palette, and also proves himself attuned to matters of balance and sectional voices.
For collectors who see him as an increasingly dull interpreter, this is a great reminder of his first efforts, and his very real talents. In between the two "big" pieces is a staggeringly good Dumbarton Oaks. Boulez brings his customary clarity and rhythmic exactitude to the proceedings. Again, it's Borodin* a work I would expect in a beginners' set; it really enhances the appeal of the package, and along with the Markevitch, demonstrates a willingness to think outside the box.
The set ends with Karajan's Circus Polkawhich ironically has all the Russian Dance—Scene In Pétrouchkas Room - Stravinsky* missing from his Rite of Spring.
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