Stravinsky

On this CD:

1. Variations on a Theme by Frank Bridge, for strings, Op. 10
Composed by Benjamin Britten

Conducted by Herbert von Karajan

2. Fantasia on a Theme by Thomas Tallis, for 2 string orchestras
Composed by Ralph Vaughan Williams

Conducted by Herbert von Karajan

3. Jeu de cartes (Card Game), ballet in "three deals" for orchestra
Composed by Igor Stravinsky

Conducted by Herbert von Karajan

Tracks:

Vars on a Theme of Frank Bridge, Op. 10: Intro & Theme: Lento maestoso - Allegretto poco lento
Vars on a Theme of Frank Bridge, Op. 10: Adagio: Adagio
Vars on a Theme of Frank Bridge, Op. 10: March: Presto alla marcia
Vars on a Theme of Frank Bridge, Op. 10: Romance: Allegretto grazioso
Vars on a Theme of Frank Bridge, Op. 10: Aria italiana: Allegro brillante
Vars on a Theme of Frank Bridge, Op. 10: Bourree classique: Allegro e pesante
Vars on a Theme of Frank Bridge, Op. 10: Wiener Walzer: Lento - Vivace
Vars on a Theme of Frank Bridge, Op. 10: Moto perpetuo: Allegro molto
Vars on a Theme of Frank Bridge, Op. 10: Funeral March: Andante ritmico
Vars on a Theme of Frank Bridge, Op. 10: Chant: Lento
Vars on a Theme of Frank Bridge, Op. 10: Fugue & Finale: Allegro molto vivace - Lento e solenne
Fant on a Theme by Thomas Tallis
Jeu de cartes: Premiere donne
Jeu de cartes: Deuxieme donne
Jeu de cartes: Troisieme donne

Customer Reviews:

An Extraordinary Recording of Legendary Performances!.......2002-05-05

The 2 previous reviews really nail down all the salient points for any potential purchasers of this wonderful CD. Producer Walter Legge and Herbert Von Karajan, together with the Philharmonia Orchestra, recorded much memorable music-making during their long association. Two of the three performances contained on this disc are certainly jewels from their collective crown.

The Britten, for those not familiar with the piece, is an early work, though a mightily inspired one. "Invocation" isn't too strong a word here. There simply isn't that much string writing elsewhere that's as emotionally concentrated and concisely argued musically as the "Bridge Variations." It is quintessential Britten, though, and gives a strong sense of the harmonic direction that he would take throughout the balance of his composing career. As a performance, I've yet to hear a reading of it as vital as this one. This is simply "stop what you're doing and stand and listen dumbfounded" music-making. Yes, it's recorded monophonically, but with stunning fidelity. Indeed, the Philharmonia strings play with a rapturous, single-minded attack, shaping a musical narrative of distilled intensity. To again echo an earlier writer, this is a Britten performance almost tailor-made for those who don't think they like Britten.

The Vaughan Williams is exceptional as well. The "Tallis Fantasia" can be made to sound, in the wrong hands, almost saccharine. Its power lies in carefully layered nuance, with line building upon line, the orchestra practically breathing as it reaches one carefully contructed climax after another. Again, Karajan responds to the score with a keenly conceived performance, as richly recorded as the Britten paired with it. While a stereo recording allows the antiphonal writing to be more fully realized on disc, the sonic positioning of the quartet with respect to the balance of the strings in Legge's production is quite telling, no mean feat in a mono recording. As companion performances, consider the Barbirolli made a few years later for EMI, as well as the Marriner on Argo/Decca (my own personal favorite).

Karajan's art with strings would reach fruition with his famous readings of Mahler and Richard Strauss. One wonders, though, what wonders might have resulted with Berlin readings of Britten and Vaughan Williams, and not just with these particular compositions. Karajan recorded the Holst "Planets" with the Vienna Philharmonic, but never with the Berlin... another early flirtation with English repetoire. Oh well.

The balance of the disc, the Stravinsky "Jeu de Cartes", is not nearly as successful, as beautifully as the Philharmonia may play it. Karajan's suave washes of strings and seamless phrasing just aren't what's called for here. Abbado and the LSO on DG come closer to the mark, to name one more apt performance. However, in the balance, the Britten and Vaughan Williams are remarkable enough to warrant the attention of anyone who wants rapt, poised performances of these key works for string orchestra. Highly recommended, and an essential collector's choice.

Forget the Stravinsky.......2002-04-26

This is a stunning tour de force for the Philharmonia and the young Herbert von Karajan. The variations on a theme of Frank Bridge are simply superb, and the Tallis is one of the best two ever recorded (Barbirolli did the other one.)
Modern tech freaks may object to the mono sound, but in terms of clarity and pure orchestral line, this mono sounds better than some modern stereo digital recodings, and has been remastered by someone who cared more about the music than the effects.
After the Britten, the Vaughan Williams is the sort of piece you need to sit down and LISTEN to, possibly with your favourite drink or whatever.
Forget the Stravinsky, there are better versions of the card game.

One to Remember.......1999-02-20

Here is a classic recording -- and a musical revelation. This is the CD for those who don't know or don't like Karajan, who don't know or don't like Britten, and who don't think they can tolerate mono sound. This is repertoire that Karajan never re-recorded -- perhaps because he could hardly imagine bettering the artistic success or emotional impact of these interpretations. The Britten is grippingly intense -- the funeral march variation will stay with you long after listening -- even as the Vaughan Williams is eerily soothing. (The Stravinsky is an add-on that is almost inconsequential.) The effect of the excellent mono remasterings is to create a strangely dream-like aura that is somewhere between mono and stereo (some might say that Walter Legge's genius was to create his very own sound) and fits perfectly the mood of these works. The music emerges clear, as if from a distant haze, and will not easily be forgotten. A record for the ages.

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