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Igor Feodorovich Stravinsky (1882-1971)

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Stravinsky & Prokofiev: Piano Works

Stravinsky & Prokofiev: Piano Works


Prokofiev:

Four Etudes, Op. 2

Piano Sonata No. 8 in B flat major, Op. 84

Stravinsky:

Le Chant du Rossignol

Études (4) for piano, Op. 7


Veronika Böhmová (piano)

Recorded at the Martinů Hall, Academy of Music Prague, September 14-15 and October 26- 27, 2013.

Veronika Böhmová immediately enchants you with her sheer vivacity – both when you meet her face to face and when seeing her playing the piano. In addition to her teachers (Ivan Klánský, Arkadi Zenzipér), she has also gained experience with a number of other remarkable pianists (Berman, Béroff, Hellwig, etc.).

The conductors with whom she has performed include Jiří Bělohlávek, Jakub Hrůša and Paul Goodwin. Her most significant successes are second prizes at the Maria Canals Competition in Barcelona and the Anton G. Rubinstein Wettbewerb in Dresden and progressing to the semifinal of the Queen Elisabeth Competition in Brussels. Following her debut at the Prague Spring and on numerous renowned stages throughout Europe, Veronika Böhmová has now made her eagerly anticipated debut recording.

Like the pianist herself, the selected repertoire is unusual: besides Prokofiev’s weighty “war” Sonata No. 8 and Stravinsky’s fiendishly difficult piano version of Le chant du rossignol, the CD features the two Russian composers’ rarely played yet brilliant etudes. The album is an exquisite delicacy served on a silver tray to real gourmets and connoisseurs.

Veronika Böhmová’s debut recording – a fresh new take on Stravinsky and Prokofiev.

“Böhmová has much fun with [the Etudes], for both sets are really spirited releases of creative energy rather than anything more serious...Böhmová also responds with great subtlety to Stravinsky's arrangement of his The Song of the Nightingale...An interesting and attractive record.” Gramophone Magazine, September 2014

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Supraphon - SU41482

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Stravinsky: Les Noces, Cantata & Mass

Stravinsky: Les Noces, Cantata & Mass


Stravinsky:

Les Noces

Cantata

Mass


Libuse Domanínská (soprano), Marie Mrázová (contralto), Ivo Zidek (tenor), Dalibor Jedlicka (bass), Barbara Robotham (soprano) & Gerald English (tenor)

Czech Philharmonic Orchestra and Czech Choir (Prague Philharmonic Choir), Karel Ancerl

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Supraphon Ancerl Gold Edition - SU36922

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Stravinsky: Oedipus Rex & Symphony of Psalms

Stravinsky: Oedipus Rex & Symphony of Psalms


Stravinsky:

Oedipus Rex

Ivo Zidek (Oedipus), Vera Soukupova (Jocasta), Zdenek Kroupa (Messenger), Karel Berman (Creon), Eduard Haken (Tiresias), Antonin Zlesak (Shepherd), Jean Desailly (Narrator)

Symphony of Psalms


“It may cost less than half the price of Stravinsky's version, but the performance is at least as enjoyable, with far superior chorus and orchestra and in some respects goes to the heart of the drama more compellingly than the composer himself.” Gramophone Magazine, January 1968

“Oedipus Rex, to words by Jean Cocteau, is one of Stravinsky's most compelling theatre pieces, a powerful drama that re-enacts the full force of a glorious high spot in ancient culture. The fusion of words and music in Oedipus is masterly, and arrests the attention consistently, from the animated severity of the opening narration, through the calculated tension of its musical argument, to the tragic restraint of its closing pages. Karel Ancerl was one of Stravinsky's most committed exponents.
This particular recording was taped in the Dvorák Hall of the House of Artists, Prague, and earned itself at least three major awards.
Ancerl traces and intensifies salient points in the tragedy yet maintains a precise, sensitive touch.
His vocal collaborators include the noble Karel Berman (Créon) who, like Ancerl himself, suffered considerably during the Nazi occupation of Czechoslovakia. Vera Soukupová is a fine Jocasta and the convincing but occasionally unsteady Ivo Zídek sings the part of Oedipus.
Both here and in the Symphony of Psalms – one of the most serenely perceptive recorded performances of the work – the Czech Philharmonic Chorus excel, while Supraphon's 1960s engineering (not the DDD suggested on the box) has an appealing brightness.”
Gramophone Classical Music Guide, 2010

Building a Library

First Choice - September 2000

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Supraphon Ancerl Gold Edition - SU36742

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Stravinsky: Petrushka & The Rite of Spring

Stravinsky: Petrushka & The Rite of Spring


Stravinsky:

Petrushka

The Rite of Spring


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Supraphon Ancerl Gold Edition - SU36652

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20th Century Clarinet Trios

20th Century Clarinet Trios


Bartók:

Contrasts for violin, clarinet & piano, BB 116, Sz. 111

Khachaturian:

Trio for clarinet, violin & piano

Milhaud:

Suite for violin, clarinet and piano, Op. 157b

Stravinsky:

L'Histoire du Soldat: Suite for violin, clarinet & piano


Ludmila Peterková (clarinet), Gabriela Demeterová (violin), Markea Cibulková (piano)

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Supraphon - SU34812

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Emil Gilels in Prague

Emil Gilels in Prague


Debussy:

Images pour piano - Book 1

Mozart:

Piano Sonata No. 15 in F major, K533/494

Piano Sonata No. 17 in B flat major, K570

Stravinsky:

Petrushka


Emil Gilels (piano)

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Supraphon - SU37782

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Ida Haendel: Prague Recordings 1957-1965

Ida Haendel: Prague Recordings 1957-1965


Bartók:

Violin Sonata No. 2, BB 85, Sz. 76

Romanian Folk Dances, Sz.56 (arr. Székely for violin & piano)

Beethoven:

Violin Sonata No. 7 in C minor, Op. 30 No. 2

Violin Sonata No. 8 in G major, Op. 30 No. 3

Violin Sonata No. 9 in A major, Op. 47 ‘Kreutzer'

Romance No. 1 for Violin and Orchestra in G major, Op. 40

arr. for violin and piano

Violin Concerto in D major, Op. 61

Glazunov:

Violin Concerto in A minor, Op. 82

Lalo:

Symphonie espagnole, Op. 21

Ravel:

Tzigane

Habanera

Sarasate:

Zigeunerweisen, Op. 20

Sibelius:

Violin Concerto in D minor, Op. 47

Stravinsky:

Divertimento (transcription for violin & piano by Stravinsky & Samuel Dushkin from Le Baiser de la Fée)

Violin Concerto in D

Tartini:

Violin Sonata in G minor 'Devil's Trill'

Wieniawski:

Violin Concerto No. 2 in D minor, Op. 22

Scherzo-Tarantelle in G minor, Op. 16

Mazurka in G major, Op. 19 No. 1 'Obertas'

Polonaise brilliante No. 1 in D major, Op. 4


Such attributes as charismatic, singular, exceptional are somewhat overused today. Yet in the case of Ida Haendel they are justified. Born in 1928 into a Polish Jewish family, she was a child prodigy, playing Beethoven’s violin concerto at the age of five... and leading master classes in London at the age of 85. After her Prague debut in 1957, she returned to the city throughout the 1960s, either to give concerts (most frequently with the Czech Philharmonic Orchestra conducted by Karel Ančerl, and exclusively accompanied by the pianist Alfréd Holeček at chamber recitals) or to work in a studio.

The present album features the complete live and studio recordings Ida Haendel made in Prague until 1965 deposited in the Supraphon and Czech Radio archives, with a number of them being released for the very first time. Alongside “virtuoso pieces” and sonatas, the CDs include concertos by Beethoven, Stravinsky, Wieniawski, as well as her “flagship” Sibelius. When listening, you will have no doubts as to the veracity of Ida Haendel’s seemingly immodest statement “I am the violin...”

“The Kreutzer is magisterial and played with intelligence and authority...In the Glazunov she brings to the score a wealth of tonal colour. The Wieniawski is a virtuoso tour de force and in the third movement, whilst she doesn’t quite match Heifetz’s quicksilver dexterity, there’s some sparkling fingerwork.” MusicWeb International, 14th October 2014

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Supraphon - SU41622

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Legendary Recordings: Josef Vlach & Czech Chamber Orchestra

Legendary Recordings: Josef Vlach & Czech Chamber Orchestra


Britten:

Variations on a theme of Frank Bridge, Op. 10

Debussy:

Danses sacrée et profane

Dvorak:

Czech Suite, Op. 39

Serenade for Strings in E major, Op. 22

Hurnik, I:

Concerto for oboe, piano and strings

Mozart:

Adagio & Fugue in C minor for Strings, K546

Divertimento in D major, K136

Serenade No. 13 in G major, K525 'Eine kleine Nachtmusik'

Pauer, J:

Symphony for strings

Purcell:

Suite from King Arthur

Respighi:

The Birds

Stravinsky:

Apollon musagète

Suk:

Serenade for String Orchestra in E flat, Op. 6

Tchaikovsky:

Serenade for strings in C major, Op. 48

Andante Cantabile (from String Quartet No. 1 in D Op. 11)


Czech Chamber Orchestra, Josef Vlach

Josef Vlach and the Czech Chamber Orchestra – recordings abounding in torrential energy, a legend arising from the feted Talich tradition.

The violinist and conductor Josef Vlach (1923–1988), who played a crucial role in cultivating the superlative Talich tradition and quality, is far from being as well known as he deserves to be. At the age of 23, Vlach co-founded the Czech Chamber Orchestra for Václav Talich, who after being falsely accused of collaborating with the Nazis was banned from working with the Czech Philharmonic and the National Theatre. The young orchestra soon proved to be a sensation (Pierre Fournier branded it the best chamber formation in the world), yet following the Communist coup in 1948, it rather opted for diluting than renouncing Talich.

The maestro’s stringent requirements for the utmost artistic quality, diligence and engagement served as the fundamental principles for the Czech Chamber Orchestra, revived by Josef Vlach in 1957. They went on to gain great acclaim worldwide, with the most noteworthy triumphs including the performance in Osaka in 1960 (standing in for the Boston Symphony Orchestra), the concert at the Salzburger Festspiele in 1962 (broadcast by some 180 radio stations), tours of the USA, Germany, the UK, Switzerland, France, Belgium ... The orchestra then returned from the limelight to the twilight at home, rehearsals in a dingy basement, to a country where they were more tolerated than supported. Yet even amidst such unfavourable circumstances Vlach’s exceptionable musical qualities and the Talich credo would bear extraordinary fruits. According to Ivan Moravec’s reminiscences, Josef Vlach was “in everyday life a person absolutely unexceptional, humble yet rather absent‐‐‐minded, whereas his imagination as regards music was so immense that I can hardly conceive of Talich’s successor possessing a greater, ampler and more compelling vision.” The presented recordings, made between 1960 and 1982 (most of them before 1966) are among the most precious gems from the Supraphon archives. They have all been carefully remastered, with half of them now being released on CD for the very first time.

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Supraphon Archiv - SU42032

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Sinful Women: Dagmar Pecková

Sinful Women: Dagmar Pecková

Recorded at the Studio of Slovak Philharmonic Orchestra, Bratislava, September 2014


Cherubini:

Del fiero duol che il cor mi frange (Act 3) (from Medea)

Mariotte:

Ah! Je baiserai ta bouche (from Salome)

Massenet:

Ne me refuse pas (from Hérodiade)

O mes sœurs (from Marie-Magdeleine)

Saint-Saëns:

Bacchanale from Samson et Dalila

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Strauss, R:

Ich habe keine guten Nachte (from Elektra)

Salome: Dance of the Seven Veils

Stravinsky:

Nonn' erubescite, reges (from Oedipus Rex)

Wagner:

Ich sah das Kind an seiner Mutter Brust (from Parsifal)


The provocative title of the new album by the feted mezzo-soprano Dagmar Pecková reflects a remarkable dramaturgic idea: that which connects the life of modern humans with the heroines of Antique mythology is the principle of sin – and forgiveness.

This is perhaps why all the featured characters are smart and strong women, some of them even endowed with supernatural abilities. Women determined to apply the boldest means so as to gain that which they long for – or to take revenge. Women betrayed by a ruse or wounded by their own love.

The very first aria featured, that of Massenet’s Marie-Magdeleine, opens the scope for the message – that the only way out of sin is forgiveness. “When you look at mezzo-soprano characters, virtually all of them can be branded sinners. Perhaps it is owing to the darker voice colour...” says Dagmar Pecková. As rendered by her on the present album, each of the “sinful women” is profoundly treated in psychological and emotional terms.

This profundity and inspiration is based on the soloist’s own professional experience and is also the fruit of the collaboration with the accompanying Slovak Philharmonic Orchestra, under the uncompromising and masterful baton of Aleksandar Marković.

Love, sin and forgiveness. An insight into the mysterious female soul!

“Dagmar Peckova's voice has evolved from strong and stylish Mozartian into a richly powerful instrument whose darkly sensuous hues are ideally suited to the lusher late Romantics…her hollow-toned, haunting Klytaemnestra is the finest performance here.” BBC Music Magazine, September 2015

“Vocally Peckova's dark contralto-ish mezzo is in good shape throughout...Tone and supportive vocal colour seem to count more for her than pure text...Throughout the programme we hear superbly and cleanly executed run-throughs, but it is oftem Markovic's players who provide the real dramatic thrust (try the end of Elektra here).” Gramophone Magazine, July 2015

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Supraphon - SU41812

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