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STRAVINSKY, Antal Dorati, The London Symphony Orchestra

The Firebird - - Complete Ballet

Игорь Фёдорович Стравинский - The Firebird (London Symphony Orchestra feat. conductor: Antal Dorati) 01. Fireworks, Fantasy for Orchestra (3:58) 02. The Firebird: I. Introduction (2:22) 03. The Firebird: Tableau I, The Enchanted Garden of Kastchei (1:33) 04. The Firebird: Appearance of the Firebird, Pursued by Prince Ivan (1:54) 05. The Firebird: Dance of the Firebird (1:18) 06. The Firebird: Capture of the Firebird by Prince Ivan (0:57) 07. The Firebird: Supplication of the Firebird (5:21) 08. The Firebird: Appearance of the Enchanted Princess (1:43) 09. The Firebird: The Princesses' Game with the Golden Apples (Scherzo) (2:22) 10. The Firebird: Sudden Appearance of Prince Ivan (1:23) 11. The Firebird: Khorovod (Round Dance) of the Princesses (3:44) 12. The Firebird: Daybreak (1:23) 13. The Firebird: Magic Carillon, Appearance of Kastchei's Monster Guardians, and Capture of Prince Ivan (1:16) 14. The Firebird: Arrival of Kastchei the Immortal (1:14) 15. The Firebird: Dialogue of Kastchei and Prince Ivan (0:58) 16. The Firebird: Intercession of the Princesses (0:50) 17. The Firebird: Appearance of the Firebird (0:29) 18. The Firebird: Dance of Kastchei's Retinue, Enchanted by the Firebird (0:43) 19. The Firebird: Infernal Dance of All Kastchei's Subjects (4:25) 20. The Firebird: Lullaby (Firebird) (2:42) 21. The Firebird: Kastchei's Awakening (0:55) 22. The Firebird: Kastchei's Death; Profound Darkness (1:04) 23. The Firebird: Tableau II, Disappearance of Kastchei's Palace and Magical Creations, Return to Life of the Petrified Knights, General Rejoicing (2:42)
  • Antal Dorati - conductor
  • The London Symphony Orchestra - orchestra
  • STRAVINSKY

Produkt w tej chwili niedostępny.

"The Firebird" can almost be described as a work of fate, since it is not only the first of several ballets that Stravinsky wrote for Sergei Diaghilev and his Ballets Russes but also marks his international breakthrough as a composer. In comparison with his other earlier stage works, the ecstatic, sharply contoured "Rite of Spring" for example, "The Firebird", with its melodic character, is a far gentler work altogether. There are unmistakable reminiscences of the musical language of Rimsky-Korsakov and Tchaikovsky as well as snatches of late-Romantic harmonies; all this lends the music the charm of Russian tradition. In his performance, Dorati chooses the golden mean in that he has his ensemble produce a highly colourful but by no means glaring sound. Thus the listener is given the opportunity to follow the development of the finely chiselled motifs which are so characteristic of this early composition. Happily, the chamber-music-like transparency is preserved even in the loud, more exposed passages – the sound leaves the loudspeakers with a sprightly, athletic tread, as it were.

 

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