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Stravinsky : Petrouchka ; Bartok : Le Mandarin Merveilleux [Australia] CD, Import

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Détails sur le produit

  • Orchestre: Orchestre Philharmonique de Vienne
  • Chef d'orchestre: Christoph Von Dohnanyi
  • Compositeur: Igor Stravinsky, Bela Bartok
  • CD (18 octobre 2004)
  • Nombre de disques: 1
  • Format : CD, Import
  • Label: Mis
  • ASIN : B0006OPW9E
  • Moyenne des commentaires client : 4.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 97.487 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Petrusjka
  2. Den SÄllsamme Mandarinen

Descriptions du produit


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4 internautes sur 4 ont trouvé ce commentaire utile  Par Mélomaniac 1ER COMMENTATEUR DU HALL D'HONNEURTOP 10 COMMENTATEURS le 9 novembre 2008
Achat vérifié
Dans les années 1980, l'arrivée providentielle du support CD invita les labels à régénérer leur catalogue pour le mettre à l'heure du DDD. En une bonne décennie, Decca engrangea ainsi quatre versions de "Petrouchka" : Antal Dorati à Detroit, Charles Dutoit à Montreal, Riccardo Chailly à Amsterdam, Georg Solti à Chicago (ah la belle époque...)

Peu avant l'essor de l'enregistrement numérique, Christoph von Dohnanyi avait déjà gravé la sienne à Vienne en décembre 1977 : avouons qu'on l'avait un peu oubliée et l'on se réjouit que la collection Eloquence ait pensé à rééditer cette interprétation finement musicale, qui octroie le rare plaisir d'entendre le conservatiste Wiener Philharmoniker jouer Stravinsky.
Pour mémoire, on se souviendra que le compositeur écrivait : « j'ai gardé un souvenir amer de ma première visite à Vienne. L'hostilité avec laquelle l'orchestre avait accueilli la musique de Petrouchka lors des répétitions avait vraiment été pour moi une surprise ».

On sent dès l'introduction de la "Fête populaire" que le maestro hongrois a ici décidé d'alléger leurs charmes melliflus pour mieux affûter la dimension rythmique de l'oeuvre, veillant attentivement à la netteté des contrebasses et violoncelles, et faisant claquer la percussion si nécessaire.
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Amazon.com: 5 commentaires
1 internautes sur 1 ont trouvé ce commentaire utile 
A SUPERB Miraculous Mandarin coupled with a very fine Petruchka-but the 1947 Revision. Unmissable! 15 juin 2015
Par D. S. CROWE - Publié sur Amazon.com
In my recent review of the companion Firebird release, I commented on the same conductors’ somewhat forensic approach paying dividends in terms of excitement and brilliance, but losing out in the more romantically expansive passages.
In the Petruchka, recorded in 1977, this same approach works better as the work is a much quirkier, “spikey” piece.
The Vienna Philharmonic are majestic, the remastered recording in Eloquence’s SBS process is superb-so what is not to like?

For me the problem is that Dohnanyi uses the 1947 Revision of the score, in which Stravinsky very cleverly reduced instrumentation and re-orchestrated the work entirely so as to be a genuinely different piece-but which sounds the same as the earlier as much as possible.
The reason for this as we know was purely commercial-the vagaries of international copyright law and 2 World Wars had left Stravinsky in 1945 with no copyright to many of his earlier works, including all the Ballet Russes commissioned pieces.

As performances and recordings of the 3 major ballets-Firebird, Petruchka and Rite of Spring-formed the composer’s “bread and butter”, under advice he revamped them sufficiently radically so as to avoid a legal challenge as to their being genuinely separate works, and thus he was able to receive royalties, including from his own recordings!

Many listeners either do not notice or do not care-and I DO enjoy all versions of these works, but my marked preference lies for the earlier versions-so if you want to hear the VPO in Petruchka, I would seek out the Maazel VPO disc of the Original Version on Sony BMG which is stunning in every respect.

HOWEVER-this disc becomes a top recommendation because of the performance of the companion work, Bartok’s last stage work, the ballet “The Miraculous Mandarin” recorded digitally in 1981 and re-mastered here in sound which has never been bettered. It is quite simply the most powerful, most devastating and most brilliantly played I have ever heard-and I LOVE this work!

The plot is shocking-in a sleazy urban slum, a young nubile prostitute is coerced by 3 thugs into enticing victims with her charms who will then be robbed by the thugs before, shall we say, the arrangement is consummated. There is a grim humour in the first two “clients”, a drunken middle-aged roué and a callow youth, both of whom are impoverished and duly thrown out.
The third client is the magnificently robed Mandarin of the title, who enters but gazes impassively at the prostitute. She begins a seductive dance to entice him further in, but he remains impassive and she begins to be aroused herself. At the climax of her dance the Mandarin finally reacts, and overcome by lust he attempts, as the scenario coyly suggests, to “ possess “ her, and then the thugs enter and there is a violent scuffle-but the Mandarin continues to stare longingly at the young woman.
They decide to kill him-and attempt to smother him, stab him repeatedly and finally they hang him-but he remains alive and fixated on the girl. Only when he is cut down do his eyes cloud, his wounds bleed-and he expires.

There is enough material for treatises by Freud, Jung and Kraft-Ebbing and I’m not going to provide any analysis. To me it has always seemed the musical equivalent of paintings by Egon Schiele, depicting the corrupt decadence of sexual compulsion and the dissolution which can result-its power to excite but also to destroy.

The music is on the surface harsh and dissonant, but in fact this is frequently the result of conflicting tonal ideas played simultaneously. It is brilliant, with several moments of grim parody, folk melodies-and is incredibly spectacular.
There is in my view no better performance –or recording- of the work than this one. Dohnanyi picks out every nuance, every critical balance and every rhythmic change to perfection. He unfolds layer upon layer of subtle musical invention, and the recording matches his brilliance in every note.
The playing only emphasises a point I have made many times in reviews-when a work is “awful” in the true sense, this is highlighted by it being played beautifully.

The Vienna Philharmonic Musicians play this work as I have never heard it before, with beauty of phrasing and tone and such virtuosity that it takes the breath away. The Organ Bass Pedal in the prelude is thunderous-the choral interjections are wonderfully caught-be warned, there is a huge dynamic range to this recording. Prepare to be overwhelmed!

I have usually listened to Solti (LSO not CSO), Dorati (Detroit) or Welser-Most with a galvanised LPO as my first choice recordings-but the Dohnanyi renders them second best.

So, even at the high asking price this disc is essential for those who love the Bartok as I do, and there is a lot to commend in the Stravinsky where my own nit-picking preference will not be shared by everyone by any means. A superb 5 Stars and totally recommended. Stewart Crowe.
3 internautes sur 4 ont trouvé ce commentaire utile 
Unusual pairing is the attraction 5 juillet 2008
Par Larry VanDeSande - Publié sur Amazon.com
Achat vérifié
Australian Eloquence reintroduced Christoph von Dohnanyi's pairing of Stravinsky's 1947 "Petrushka" suite with Bartok's "Miraculous Mandarin" in 2004. Dohnanyi made the original recordings with the Vienna Philharmonic in 1978 and 1981, resepctively. Oddly,this Australian import is now available in USA and not available in Australia.

I bought this for the pairing since I'd been trying to acquire a good reading of Petrushka that wasn't linked to another Stravinsky ballet. This is my first exposre to Miraculous Mandarin, a pantomine for stage about murder and worse. It is full of ill behavior and brilliant orchestral writing and ideas and is the type of music in which the late George Solti would soar above other conductors. His legendary recording of Miraculous Mandarin is still available and still getting five star reviews from Amazon critics.

So what about this one? I like this recording, like just about everything about it. I gave it four stars for that reason. I wouldn't say the Petrushka suite gives the unbridled idea of Russian life I heard from Mravinsky and some others but it's very good. The Bartok is better, I think, and probably more representative of the composer's own blood and soul. People have called Dohnanyi a stuffy German intellectual but you don't hear that in this music. The conductor was born to German and Hungarian blood and was grandson to the famed composer, from whom he acquired his musical soul.

The Vienna Philharmonic, which many would never consider a great Stravinsky or Batok orchestra, plays very well for him and the recording is reperesentative Decca for its era. This has gotten good marks around the world for years and, after hearing it for the first time, I can see why. As is the norm for this label, it includes a couple pages of untitle and unattributed notes that help a novice understand what the music is about both in dramtic narrative and musicicological description.

It makes a good package and anyone seeking this particular combination need not hesitate to grab this offering while it's availalbe. Australian Eloquence recordings have a tendency to become NA overnight so, if you have an interest, go for it.
2 internautes sur 3 ont trouvé ce commentaire utile 
Finally, this wonderful cd is available in the US! (That's meant to be 4 and 1/2 stars...) 25 août 2011
Par dysfunctional-harmony - Publié sur Amazon.com
Achat vérifié
Christoph von Dohnanyi as usual makes himself at home in modern music on this wonderful cd.
In Stravinsky's Petruskha, he takes everything at just the right pace. The Russian Dance is especially playful, the next section seems to point out the connection between this piece and Messiaen's Turangalila Symphonie in an ever so subtle way. The first time Petrushka's theme is introduced, it sounds almost like the "flower theme." Horst Gobel makes a fine pianist for your money, and delivers an especially virtuosic performance. The dance of the Moor and the Ballerina is particularly haunting in quality. I just can't describe it. Dohnanyi navigates the tricky time signatures and striking bitonality in this section unflinchingly, with commendable acoustics to back him up, so there's not much to complain about. When Petrushka does enter, he sounds defiantly mock-heroic in just the right way. Now, there are two ways to interpret the finale. You can take it fast, and make Petrushka still sound mock-heroic, or at an extremely slow tempo, and make it sound terribly eerie. Dohnanyi's is clearly of the latter variety.
I don't think I've ever heard so much organ in Bartok's Miraculous Mandarin as in this recording. I only have a single quibble with this interpretation. My quibble is that I think there should be more bass drum slap on the beat in the Thugs' theme's triplets. There are a couple of ways of interpreting the girl's clarinet solo in this piece. One could play it seductively as if the girl had jumped right into her role in this con-game, having obviously done it a million times before, or one could play it slower and more introspectively, with some hesitation. I think Dohnanyi is definitely of the latter variety, and this makes for a thought-provoking performance on all levels. From then on this performance is garden variety at worst on most levels. What is great about this performance is that when the Mandarin is climbing the stairs, unlike in most recordings you can actually HEAR HIS THEME, instead of it being covered up by all the panicking woodwinds. Dohnanyi is always at his best in broad and contrapuntal sections of pieces, and it really shows here. It only gets better in this recording.
These great performances are definitely worth the price. I highly recommend them.
Excellent. Just like he conducted when with the Cleveland Orchestra 26 mai 2015
Par Cd Bales - Publié sur Amazon.com
Achat vérifié
Wonderful performances.
0 internautes sur 1 ont trouvé ce commentaire utile 
Refreshing approach to an old favorite 10 octobre 2013
Par Reeve Stone - Publié sur Amazon.com
Achat vérifié
I found the Dohnanyi interpretation of Petrouchka a refreshing approach to a very familiar piece. (I did not care for the Miraculous Mandaring piece.)
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