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Stravinsky: Le Sacre du printemps; Debussy: La mer; Boulez: Notations VII
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Average customer review:
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Track Listing
- Stravinsky: Le Sacre Du Printemps: Premiere Partie: L'Adoration De La Terre
- Stravinsky: Le Sacre Du Printemps: Deuxieme Partie: Le Sacrifice
- Debussy: La Mer-Trois Esquisses Symphoniques: De L'Aube A Midi Sur La Mer
- Debussy: La Mer-Trois Esquisses Symphoniques: Jeux De Vagues
- Debussy: La Mer-Trois Esquisses Symphoniques: Dialogue Du Vent Et De La Mer
- Boulez: Notations VII
Product Details
- Released on: 2001-11-06
- Number of discs: 1
- Format: Import
- Original language: English
- Dimensions: .23 pounds
Editorial Reviews
From Amazon.com
This selection of 20th-century works is perfectly designed to display a virtuoso orchestra in all its glory. The music glows and glitters with a myriad colors, exploits every imaginable instrumental effect, and offers many solo opportunities to all the principal string and wind players. The program also requires a virtuoso conductor, especially the Stravinsky, with its extraordinary, previously unprecedented rhythmic irregularities, its massed sonorities, its cumulative sense of tension, and its driving, pent-up energy that explodes intermittently. No wonder the 1913 Paris premiere of Printemps caused the most famous riot in musical history and spread Stravinsky's name across the world. Barenboim's performance has enormous sweep and a sort of controlled wildness, with tremendously exciting rhythmic incisiveness, great crashing climaxes, and wonderful wind playing in the lyrical parts.
The Debussy, based on fond recollections of childhood summers the composer spent at the seaside, is all color: three almost visual evocations of the glittering water, the sparkling play of the waves and the wind, the glowing sky, and the final glorious sunrise with the violins shimmering above grand brass sonorities. The Boulez is also full of color effects, with glassy, thin sounds, but it seems more like an abstract painting. Composed when he was 21, it was part of a set of 12 very brief piano pieces, which he expanded and orchestrated 30 years later; this one was commissioned and premiered by the Chicago Symphony in 1999. Based on short figures and motives, it is called "Hiératique" and described as formal and stylized; the composer asks that it be played slowly and steadily, but not rigidly. The playing throughout is fabulous. --Edith Eisler
