Stravinsky: The Rite of Spring (Le Sacre du Printemps)

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Prokofiev: Symphony No. 5 in B flat major, Op. 100, etc.

Prokofiev:

Symphony No. 5 in B flat major, Op. 100

Stravinsky:

The Rite of Spring


“Karajan's 1968 Prokofiev Fifth is a great performance.
Whenever one compares it with later versions inevitably the DG account holds its place at the top of the list. The analogue recording was uncommonly good for its time.
With the advantage of the Jesus-Christus Kirche acoustics, the sound is full and spacious, naturally defined and balanced; there's a slightly leonine quality to the strings and a natural bloom on woodwind and brass. Karajan lived with the work for a decade before he recorded it and this is immediately apparent in the way the first movement unfolds so inevitably.
The ironic opening of the Scherzo with its flawless BPO articulation brings a splendid but unexaggerated bite, and in the more lyrical central section every subtle detail of colour comes over. The passionate string threnody of the Adagio (what playing, what intensity!) is superbly underpinned by darker wind murmurings; the tangibly hushed close leads naturally to the mellower opening of the essentially upbeat finale with its throbbing horns and instant echoes of Romeo and Juliet.
Karajan's Rite of Spring came a decade later and is more controversial. Stravinsky had been sarcastically scathing about the conductor's earlier 1964 account, even describing one section as 'tempo di hoochie-koochie'. So, Karajan let the work rest, and when he re-recorded it in January 1977 it was done in one single uninterrupted take.
The result has less visceral excitement than some but it's still very rewarding, combining both the symphonic and balletic aspects of this extraordinary score, with the BPO providing much sheer beauty of sound, as in the ravishing melancholy of the opening of Part II and the haunting 'Evocation des ancêtres', although other versions find more pungent drama when the horns enter later.
The Philharmonie sound is excellent and both CD transfers are expertly managed to retain the full character of the originals.”
Gramophone Classical Music Guide, 2010

DG Originals - 4636132

(CD)

$11.25

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Stravinsky: Ballet Music

Stravinsky: Ballet Music


Stravinsky:

Petrushka - suite

The Rite of Spring

Les Noces

Doris Rossiaud (piano)

The Firebird


Decca - E4434672

(CD - 2 discs)

$15.25

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Stravinsky Ballets

Stravinsky Ballets


Stravinsky:

The Firebird Suite

Jeu de cartes

Pulcinella

Ballet (Complete)

The Rite of Spring

(1947 version)

Petrushka (1911 version)


Building a Library

First Choice - October 2002

DG 2CD - 4530852

(CD - 2 discs)

$15.25

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Stravinsky: Petrushka & The Rite of Spring

Stravinsky: Petrushka & The Rite of Spring


Stravinsky:

Petrushka (1911 version)

The Rite of Spring


DG - E4357692

(CD)

$15.50

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Stravinsky - The Great Ballets

Stravinsky - The Great Ballets


Stravinsky:

The Rite of Spring

London Philharmonic Orchestra, Bernard Haitink

The Firebird

London Philharmonic Orchestra, Bernard Haitink

Petrushka

London Philharmonic Orchestra, Bernard Haitink

Apollon musagète

London Symphony Orchestra, Igor Markevitch


Penguin Guide

Rosette Winner

Decca Duo - 4383502

(CD - 2 discs)

$15.25

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Stravinsky - Ballets

Stravinsky - Ballets


Stravinsky:

Petrushka (1947 version)

The Rite of Spring

1947 version

The Firebird Suite

Jeu de cartes

Apollon musagète

1947 version


Royal Concergebouw Orchestra, The Cleveland Orchestra, Riccardo Chailly

“This is a great little set, coupling a ravishing Apollon musagète with a truly stunning Rite ofSpring. The Petrushka is equally fine. The fact that Stravinsky's revision of Apollon dispensed with 'half the woodwind, two of the three harps, glockenspiel and celesta from the original scoring' hardly constitutes the bleaching process that a less colour-sensitive performance might have allowed. Part of the effect comes from a remarkably fine recording where clarity and tonal bloom are complementary, but Chailly must take the credit for laying all Stravinsky's cards on the table rather than holding this or that detail to his chest. Everything tells, much as it does in the Scherzo fantastique – whether the euphonious winds and brass at 3'52", the motorised repeated notes later on or the ornamental swirlings that, in stylistic terms, dance us all the way from Rimsky's Arabian Nights to the unmistakably Russian world of The Firebird.
Apollon musagète is something else again, and Chailly takes the lyrical line, pointing without punching and allowing his excellent strings their head. The coda is jaunty, the 'Apothéose' suitably mysterious, and 'Variation d'Apollon' features fine solo work from the orchestra's leader, Jaap van Zweden. Viable alternatives include leaner, more ascetic readings, but Chailly balances gracefulness with tonal substance and the sound is glorious.”
Gramophone Classical Music Guide, 2010

Decca - Double Decca - E4737312

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Music for Two Pianos

Music for Two Pianos


Bach, J S:

Concerto for Two Keyboards in C major, BWV1061

Mozart:

Adagio & Fugue in C minor for Strings, K546

Fantasia in F minor for a mechanical organ, K608

(arr. Busoni for two pianos)

Stravinsky:

The Rite of Spring

(Stravinsky's transcription for two pianos)


Nikolai Petrov, Alexander Ghinden (pianos)

Melodiya - MELCD1001261

(CD)

$15.25

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Stravinsky, Ravel & Gershwin

Stravinsky, Ravel & Gershwin

Transcriptions and original piano works


Gershwin:

Preludes (3)

Rhapsody in Blue

solo piano version

Ravel:

La Valse

piano version

Stravinsky:

The Rite of Spring

arrangement for piano by Sam Raphling


Eric Ferrand-N’Kaoua (piano)

Stravinsky’s groundbreaking Rite of Spring is heard on this recording in the formidable yet seldom performed solo piano transcription by the 20th-century American composer and pianist Sam Raphling. It is coupled with Ravel’s own virtuosic transcription of La Valse, Gershwin’s jazz-infused 3 Preludes and his own solo piano version of Rhapsody in Blue.

Key Features: This recording is a genuine pianistic event. It gathers together a long tradition for arrangement-making and originality in repertoire of which the solo versions are rarely heard in the concert hall. These feature a stunningly distinctive piano transcription of Stravinsky’s Rite of Spring, and original solo versions of Gershwin’s Rhapsody in Blue and Ravel’s La Valse. Eric Ferrand-N’Kaoua has been acclaimed for his natural sense of phrasing and color, but in this case it is the colors of an entire orchestra which are demanded by Sam Raphling’s seldom played and spectacularly virtuoso transcription of Stravinsky’s Rite of Spring which is equal in this regard to Ravel’s own solo piano version of La Valse. Gershwin’s music adds a flavor of American swing via the Three Preludes, followed by the composer’s very pure, complete piano version of his famous Rhapsody in Blue.

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Grand Piano - GP696

(CD)

$17.75

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Monolithen: Debussy, Zimmermann, Stravinsky

Monolithen: Debussy, Zimmermann, Stravinsky


Debussy:

En blanc et noir

Stravinsky:

The Rite of Spring

arr for piano 4-hands by the composer

Zimmermann, B A:

Monologe

Version of 'Dialoge' for two solo pianos


piano duo huber|thomet: Susanne Huber & André Thomet

The piano works for two pianos or piano four-hands united here have quite a few inner connections. Each, in its own way, breaks down aesthetic conventions and involves vast historical and geographic horizons while demanding the highest level of virtuosity from the performers.

'En blanc et noir' [In Black and White] was created in the early days of the First World War. Claude Debussy made no secret of his disgust with the catastrophe of the war and the Germans who were responsible for it. He saw the German invasion as an attempt to destroy French culture. Therefore the title of the composition not only refers to the black and white keys of the piano keyboard, but primarily symbolises the two opposing sides in the First World War: white representing the French victims and black the German aggressors.

Bernd Alois Zimmermann’s 'Monologe' demands incredible technical skill from the performers. The independence of the two pianos presents a particular challenge, but so does the necessity of maintaining a sense of balance between the instruments. The composition is pervaded by a number of historical quotations. These quotations, ranging from the Gregorian chant “Veni Creator Spiritus” [Come, creative spirit] via Bach, Mozart, Beethoven, Debussy to Messiaen, transport the evolution of European music into a new, specially created sound continuum. 'Le Sacre du printemps' [The Rite of Spring] expresses in constantly shifting rhythms the elemental experience of the Russian Spring and “the close connection of the people to the earth”. Igor Stravinsky composed the work at the piano, as the initial sketches clearly reveal. The spacing of the chords and the tonal range are characteristic of the piano, so that it is only partially correct to speak of the version for piano duet as a 'reduction', in fact, it reveals the original conception of the piece.

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Wergo - WER68092

(CD)

$16.75

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Les Musiciens et la Grande Guerre Vol. 2

Les Musiciens et la Grande Guerre Vol. 2

Au Carrefour de la Modernite


Busoni:

Fantasia Contrappuntistica

Debussy:

En blanc et noir

Stravinsky:

The Rite of Spring

piano duet


Jean-Sebastien Dureau (piano) & Vincent Planes (piano)

The incredible explosion of music at the beginning of the 20th century was confronted, during the Great War, with other explosions: military, social and political. The scandalous arrival of the Sacre du printemps in 1913 gave way to creations which were more interiorized, part of history, tradition: Debussy’s En Blanc et Noir, premiered in Paris on 22 January 1916 in the ‘hôtel de Polignac’ in a concert dedicated to ‘affectionate help to musicians’; Busoni’s Fantasia contrappuntistica presented a modernity in 1910 which was not cut off from its heritage but, on the contrary, fed from it, the better to transform it.

Jean-Sébastien Dureau first studied music in Lyon, then with Jean-François Heisser, Christian Ivaldi and Alain Planès at the Paris Conservatoire National Supérieur de Musique. He graduated in 1996 with first prizes in piano and chamber music and pursued advanced studies with Géry Moutier at the Lyon Conservatory.

In 1998, he went to study in the USA with renowned Hungarian pianist and teacher György Sebök at the Indiana University School of Music in Bloomington. Over a two year period he had the opportunity to work with outstanding artists such as János Starker, Reiko Neriki, Franco Gulli and Leonard Hokanson. He was awarded the Artist Diploma.

An avid collaborative pianist, Vincent Planès performed in many prestigious venues in Europe and Amercia: Carnegie Hall in New York City, Jordan Hall in Boston, Kennedy Center in Washington DC, Wigmore Hall in London, Kumho Art Hall in Seoul, Auditorium du Louvre in Paris…

Born in Annecy, he came to pursue his musical studies in the USA upon his graduation from the Lyon Conservatoire National Supérieur de Musique. At Indiana University, he had the privilege of studying with Menahem Pressler and to serve as János Starker’s class pianist. He then undertook doctoral studies in collaborative piano at New England Conservatory with pianist Irma Vallecillo. While in America, he collaborated with many prominent artists among which violist Kim Kashkashian and violinist Itzhak Perlman were major influences on his musical development. From 2007 to 2013 he taught at the Maurice Ravel Conservatory. -

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Continuo Classics Les Musiciens et la Grande Guerre - WW1702

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