Stravinsky: Petrushka / Rite of Spring

On this CD:

1. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version)
Composed by Igor Stravinsky
Performed by Philadelphia Orchestra
Conducted by Riccardo Muti

2. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra
Composed by Igor Stravinsky
Performed by Philadelphia Orchestra
Conducted by Riccardo Muti

Tracks:

Also Sprach Zarathustra (Sunrise) - R. Strauss
Mars (The Planets) - Holst
Overture 1812 - Tchaikovsky
Entry Of The Gladiadtors - Fucik
Sabre Dance - Khachaturian
Procession Of The Sardar - Ippolitov Ivanov
Night On Bald Mountain - Mussorgsky
Anvil Chor (II Trovatore) - Verdi
The Thunderer March - Sousa
Thunder & Lightening Polka - J. Strauss
Prelude To Act III : Lohengrin - Wagner
The Ride Of The Valkryies - Wagner
Montagues & Capulets (Romeo & Juliet Ballet Suite) - Prokofiev
The Storm: Symphony No. 6 In F Major, 'Pastorale' - Beethoven
Rondeau - Edward Carroll
Overture: Fireworks Music - Handel
March To The Scaffold: Symphonie Fantastique - Berlioz
LesToreadors - Bizet
William Tell Overture: Finale - Rossini
Revolutionary Study - Abbey Simon
Fanfare For The Common Man - Copland
Sym No. 1 'Titan' IV Sturmisch Bewegt (Excerpt) - Mahler
Augurs Of Spring From Rite Of Spring - Stravinsky
Russian Dance From Petrouchka - Stravinsky
The Great Gate At Kiev From Pictures At An Exhibition - Mussorgsky

Customer Reviews:

Good selection.......2005-10-02

I bought this CD to use in my classroom as listening examples. I'm not just a super big fan of some of the performances, but they are all good and for the price you can't beat it. That's why I gave it 5 stars. It's worth more than it costs by far.

thunderous applause.......2005-08-31

This is a who's-who of great pieces of music you have heard all of your life, and never knew the names and stories! I listened to it over and over in the car and had my own concert! A friend borrowed it to add music to his Home Movies and it was perfect!

Good Music at a Great Price.......2004-03-06

I bought this CD mostly for "Entry of the Gladiators," which everyone will recognize as classic circus music. The performance on this CD (by Erich Kunzel and the Cincinnati Pops) is the best available version of Entry of the Gladiators. The rest of the CD offers mostly excerpts of classical music.

You will like this!.......2004-02-19

I had purchased an abundance of the "Favorites" collection and some were better than others.

This CD is at the top of them all. They may be short, but not that short. Wondrous music.

I can almost guarantee that you will like this music.
Well worth the price!

Good for the novice.......2002-06-08

The recordings on this disc are pretty good. However, the editors selected only the *loud* parts, as indicated by the title. I was pretty disappointed to find that the pieces are, in many cases, edited to reflect the most famous themes, etc, instead of including the whole work. In general, I would recommend this to the classical music novice, or someone who wants to expand their knowledge of classical music in general. Those who already are familiar with these pieces will probably feel gypped.

Stravinsky: Rite Of Spring, Fireworks, Petrouchka / Ozawa, Tilson Thomas, Chicago Symphony

Average customer rating:

An Odd Release But A Bargain Price for Excellent Performances
Great reading of these 2 works
Best or not, you'll really love this Rite of Spring
Totally convincing
The best Rite of Spring

Stravinsky: Rite Of Spring, Fireworks, Petrouchka / Ozawa, Tilson Thomas, Chicago Symphony
Michael Tilson Thomas , and Seiji Ozawa
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Bartók: Concerto for Orchestra; Music for Strings, Percussion and Celesta; Hungarian Sketches
Symphonie Fantastique
Mussorgsky: Pictures at an Exhibition
Rimsky-Korsakov: Scheherazade; Capriccio Espagnol; Russian Easter Overture
Bernstein Century - Copland: Appalachian Spring, Rodeo, etc / Bernstein, New York PO

ASIN: B00000I9MQ
Release Date: 1999-03-09

Tracks:

Petrouchka: Scene I - The Shrovetide Fair - Vivace - Boston Symphony Orchestra
The Magic Trick - Boston Symphony Orchestra
Russian Dance - Boston Symphony Orchestra
Scene II - Petrouchka's Cell - Boston Symphony Orchestra
Scene III - The Moor's Cell - L'istesso tempo - Boston Symphony Orchestra
Dance Of The Ballerina - Boston Symphony Orchestra
Waltz - Boston Symphony Orchestra
Scene IV - The Fair - Toward Evening - Tempo Giusto - Boston Symphony Orchestra
Wet Nurses' Dance - Boston Symphony Orchestra
Peasant With Bear - Boston Symphony Orchestra
Gypsies And A Rake Vendor - Boston Symphony Orchestra
Dance Of The Coachmen - Boston Symphony Orchestra
Masqueraders - Boston Symphony Orchestra
The Scuffle -Moor And Petrouchka- - Boston Symphony Orchestra
Death Of Petrouchka - Boston Symphony Orchestra
Appearance Of Petrouchka's Ghost - Boston Symphony Orchestra
The Rite Of Spring: The Rite Of Spring -- Part I - The Adoration Of The Earth - Introduction - Seiji Ozawa
The Rite Of Spring: Harbingers of Spring - Seiji Ozawa
The Rite Of Spring: Mock Abduction - Seiji Ozawa
The Rite Of Spring: Spring Khorovod - Seiji Ozawa
The Rite Of Spring: Games Of The Rival Tribes - Seiji Ozawa
The Rite Of Spring: Procession Of The Wise Elder - Seiji Ozawa
The Rite Of Spring: Adoration Of the Earth ; Dance Of The Earth - Seiji Ozawa
The Rite Of Spring: Part II - The Sacrifice - Introduction - Seiji Ozawa
The Rite Of Spring: Mystic Circles Of The Young Girls - Seiji Ozawa
Glorification Of The Chosen Victim - Seiji Ozawa
The Rite Of Spring: Summoning Of The Ancestors - Seiji Ozawa
The Rite Of Spring: Ritual Of The Ancestors - Seiji Ozawa
The Rite Of Spring: Sacrificial Dance - Seiji Ozawa
Fireworks: Fireworks, Op. 4 -Fantasy For Orchestra - Seiji Ozawa

Amazon.com

The Boston Symphony was at the peak of its powers when it engaged the 34-year-old Seiji Ozawa for this 1969 recording of Petrushka, in which the orchestra's then 24-year-old assistant conductor, Michael Tilson Thomas, played the extensive solo piano part. Ozawa, in those years, was capable of striking sparks with any orchestra he faced, and there is a palpable sense of excitement to the Petrushka he uncorks here. The accounts of The Rite of Spring and Fireworks, recorded in 1968 with the Chicago Symphony, are equally dynamic and colorful. BMG's long-awaited 24/96 remastering unleashes the breathtakingly open sound of the original tapes for the first time on CD, and may require a volume cut to preserve peace with the neighbors. --Ted Libbey

Customer Reviews:

An Odd Release But A Bargain Price for Excellent Performances.......2006-01-14

One wonders why this pairing of Seiji Ozawa and the Chicago Symphony Orchestra with Michael Tilson Thomas and the Boston Symphony Orchestra all under the spell of Stravinsky was issued. Not that the performances individually need reinforcement because they don't. Perhaps it is the long relationship between Tilson Thomas and Ozawa or their similar approaches to this repertoire that was the driver. Whatever the reason, here are recordings that are a treat.

Tilson Thomas elects the 1947 version of Petrushka and offers a clear-headed, rhythmically sound, exciting performance. The warm Boston sound is intact and enhances his overall mood of the work. Ozawa and the Chicago forces give an all stops out performance of 'Le Sacre du printemps', a performance that is about as visceral and pagan as any on record. And the bonus of the brief but effective 'Feu D'artifice' fantasy is given a robust reading.

There are many recordings of 'Le Sacre du printemps' in the recorded repertoire: obviously every conductor wants to imprint his mark on this masterpiece. The sonics are all-important when the work is recorded and in the case of this recording the sonics are excellent. But there may soon be a startling surprise for lovers of this mighty, historically important music. This week Esa-Pekka Salonen gave a resplendent, detailed, emotionally charged performance that was recorded live by DGG in the Disney Hall. And if the technicians are able to cope with the amazingly live clarity of the acoustics of this grand architectural triumph, the recording may be the gold standard immediately upon release. Salonen has previously and successfully recorded the work with the Philharmonia Orchestra in 1990. The growth in stature in the intervening years has never been more obvious that this current state of Salonen's Stravinsky. Watch for it! Grady Harp, January 06

Great reading of these 2 works.......2005-12-07

Both the Rite of Spring and Petrouska are very well rendered in this recording... Ozawa's reading is insightful and very clear... The recording quality is great... Highly recommend this recording...

Best or not, you'll really love this Rite of Spring.......2004-06-29

Being among my top favorite pieces in the 20th century (after all, this piece turned the view of classical music upside down), I have tested myself listening to various versions by different performers. As far as much as I listened, my top two will have to be Leonard Bernstein with the New York Philharmonic (the most brashing, bashin, mind-crushin'!!!) and this equally thrilling performance with Ozawa leading the Boston Symphony Orchestra.

Officially, this is a major highlight throughout Ozawa's conducting legacy, still a very young man with seemly imperishable vigor and force very equilavent to his teacher Lenny. The Boston Symphony is an excellent orchestra to work with (the woodwinds and brass especially); otherwize the Chicago Symphony could have been the only other choice.

In my perspective, I had to admit that, just by focusing on the level of being barbaric and noxious, it slightly lacks that to Lenny, but on the other hand, it's brilliant controlled nail-biting high tempo can cover that.

Definitely worth buying!!! GO FOR IT!!!!!

Totally convincing.......2004-06-16

I have three recordings of "The Rite of Spring". I've known it in every detail since 1972 when I was 17 and I know the score inside out. This is the only performance (recorded or live) that I've ever heard that raised the hairs on the back of my neck, made me grip the seat and break out into a cold sweat, and ultimately made me understand what "The Rite" is all about. The recording does full justice to the performance. This is a "must have" for anyone who wants to understand the point of the work.

The best Rite of Spring.......2004-03-28

Ozawa's account of Stravinsky's most famous ballet is nothing short of astounding. The conductor has the Chicago Symphony playing with total attention. What is so amazing about this recording is that the orchestra is completely controlled and balanced. Although one may prefer a more spontaneous sounding Rite, one would be hard pressed to find a recording with more energy, polish, and power.

Ozawa's Petrouchka (with Michael Tilson Thomas at the piano) is equally amazing. The beauty of phrasing and emotion Ozawa instills into the players of the Boston Symphony orchestra is chilling. Indeed, when this recording was made, Ozawa had just taken the reigns or the orchestra (however, over the years, his energy and intensity has lessened) and they play for their new music director with total conviction.

Fireworks, a short symphonic sketch by the young Stravinsky, shows the influences of his teachers, especially Paul Dukas in the orchestration. Although not a seminal work, the opus 4 is delightful.

Tracks:

Petrushka - Tableau I: The Shrove -Tide Fair: Beginning
Petrushka - Tableau I: The Shrove-Tide Fair: The Crowds
Petrushka - Tableau I: The Shrove-Tide Fair: The Charlatan's Booth
Petrushka - Tableau I: The Shrove-Tide Fair: Russian Dance
Petrushka: Tableau II: Petrushka's Room
Petrushka - Tableau III: The Moor's Room: Beginning
Petrushka - Tableau III: The Moor's Room: Dance Of The Ballerina
Petrushka - Tableau III: The Moor's Room: Waltz (Ballerina and Moor)
Petrushka - Tableau IV: The Shrove - Tide Fair (Near Evening): Beginning
Petrushka - Tableau IV: The Shrove - Tide Fair (Near Evening): Dance Of The Nursemaids
Petrushka - Tableau IV: The Shrove-Tide Fair (Near Evening): Dance Of The Peasant And The Bear
Petrushka - Tableau IV: The Shrove-Tide Fair (Near Evening): Petrushka - Dance Of The Gypsy Girls
Petrushka - Tableau IV: The Shrove -Tide Fair (Near Evening): Dance Of The Coachmen and Grooms
Petrushka - Tableau IV: The Shrove - Tide Fair (Near Evening): The Masqueraders
Petrushka - Tableau IV: The Shrove-Tide Fair (Near Evening): Conclusion (Petrushka's Death)
Le Sacre Du Printemps - The Rite Of Spring - Part I: The Adoration Of The Earth: Introduction
Le Sacre Du Printemps - The Rite Of Spring - Part I. The Adoration Of the Earth: Dances of the Young Girls
Le Sacre Du Printemps - The Rite Of Spring - Part I: The Adoration Of The Earth: Mock Abduction
Le Sacre Du Printemps - The Rite Of Spring - Part I: The Adoration Of The Earth: Spring Round Dance
Le Sacre Du Printemps - The Rite Of Spring - Part I: The Adoration Of The Earth: Games of the Rival Tribes
Le Sacre Du Printemps - The Rite Of Spring - Part I: The Adoration Of The Earth: Procession Of The Wise Elder
Le Sacre Du Printemps - The Rite Of Spring: Adoration Of The Earth (The Wise Elder)
Le Sacre Du Printemps - The Rite Of Spring - Part I: The Adoration Of The Earth: Dance Of The Earth
Le Sacre Du Printemps -The Rite Of Spring - Part II: The Sacrifice: Introduction
Le Sacre Du Printemps - The Rite Of Spring - Part II: The Sacrifice: Mystical Circles Of The Young Girls
Le Sacre Du Printemps - The Rite Of Spring _ Part II: The Sacrifice: Glorification Of The Chosen Victim
Le Sacre Du Printemps - The Rite Of Spring - Part II: The Sacrifice: Summoning Of The Ancients
Le Sacre Du Printemps - The Rite Of Spring - Part II: The Sacrifice: Ritual Of The Ancients
Le Sacre Du Printemps - The Rite Of Spring - Part II: The Sacrifice: Sacrificial Dance

Amazon.com

Whatever the limitations of Stravinsky's baton technique, no one else on disc conjures the same bustling excitement at the outset of Petrouchka. Overlapping, polyrhythmic textures in Petrouchka and in Le Sacre du Printemps come off with Mozartian lucidity, Mendelssonian lightness, and, well, Stravinsky-esque rhythmic exactitude (notwithstanding a few hesitant entrances). The clarity partly stems from the composer's use of his leaner revised scores, helped by close-up, analytical mike work by CBS. There are, of course, slicker, more sonically opulent versions of these 20th century landmarks. And then there are Stravinsky's. --Jed Distler

Customer Reviews:

Najinsky who?!.......2007-03-09

Nobody does Mr. S like Mr. S. These albums that came out on Columbia are still the ultimate. Why would anyone else bother to try to match the master? This guy was a freaking genius, for goodness sake. You other guys get a life.

Hermann and Stravinsky.......2006-10-10

I hadn't listened to Le Sacre du Printemps in a couple of decades. This recording was like hearing it for the first time.

With nothing to add to the other reviews, I just want to note that when I got to "Harbingers of Spring (Dances of the Young Girls and Boys)," I was struck by the similarity between parts of it and Bernard Hermann's soundtrack for Psycho. One more example of how mid-century US film and and television scoring was influenced by late-19th and early 20th century composers (listen to Debussy's Images in this context).

Powerful rendition.......2004-10-08

This version of the Rite of Spring, is quite simply one of the best versions out there. Stravinsky summons the raw, primitive power, and emotional intensity of this work, and gives it a fresh, almost light touch, very different from other versions of this work. The Petruska is also very good, but Stravinsky tends to take everything at a slightly too quick pace.
(Note for Robert Lewis: very few people interested in classical music would be ignorant enough to attempt to nap to the Rite of Spring, one of the most violent works ever written.)

From the Master.......2004-03-29

I had the great good fortune to attend a concert of Stravinsky's music partially conducted by Stravinsky himself in Beverly Hills, CA. I don't remember the exact year, but it would have been in the late '60s. In other words, just a few years before his passing.
He shared conducting duties with his long-time associate, Robert Craft.

Because of his obvious age and frailty, it was expected he would sort of ceremoniously conduct one or perhaps two of his shorter works, leaving the bulk of the concert to Craft. Imagine my, and the audience's astonishment when we saw in the program that Maestro Stravinsky would be the conductor for several works, culminating in the concluding work on the program, "Le Sacre du printemps".

When the time came for "Le Sacre", the maestro, assisted and with some difficulty, made his way to the podium, at which he, not surprisingly, sat. He gazed at the score for a long moment. Slowly, his gaze rose from the score to his orchestra, which he observed for a few seconds, which seemed like hours. The audience grew silent with expectation. Slowly, deliberately, he raised his baton. And it began. What followed for the next 30 plus minutes was one of the most electrifying, galvanizing, and thrilling performances of anything I have ever seen or heard in my life, before or since.

After the concert I made it a point to chat with several friends of mine who were in the orchetra. I suggested that the orchestra must have been well prepared by Robert Craft so that Maestro Stravinsky would be better able to conserve his energy. To a man (and woman) they assured me that absolutely the opposite was the case. The portions of the concert, including "Le Sacre" that Stravinsky was to conduct were rehearsed, in total, by Stravinsky himself. In addition, Stravinsky attended the rehearsals for the balance of the program and had no problem contributing whatever he felt was necessary to the procedings. They also found him to be extremely alert and utterly charming.

How can I recommend anyone else's performance of "Le Sacre du printemps"? There is only one, and this is it.

WOW!.......2004-03-01

I would like to inform "Mr. Robert Lewis" that when writing a review for a classical album you must critique the performance on just that: the performance, not the music itself; the interpretation of the music.

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

Tracks:

Petrushka: Bulesque In Four Scenes: Fete populaire de la Semaine Grasse - The Shrove-Tide Fair - Jahrmarkt in der Fastnachtswoche
Petrushka: Bulesque In Four Scenes: La Baraque du Charlaten - The Charlatan's Booth - Die Bude des Gauklers
Petrushka: Bulesque In Four Scenes: Dance russe - Russian Dance - Russischer Tanz
Petrushka: Bulesque In Four Scenes: Petrushka's Room - Chez Petrouchka - Petrushka's Room - Bei Petruschka
Petrushka: Bulesque In Four Scenes: Chez le Maure - The Moor's Room - Bei dem Mohren
Petrushka: Bulesque In Four Scenes: Dance de la Ballerine - Dance Of The Ballerina - Tanz der Ballerina
Petrushka: Bulesque In Four Scenes: Valse - La Ballerine et le Maure - Waltz - The Ballerina And The Moor - Walzer - Die Ballerina und der Mohr
Petrushka: Bulesque In Four Scenes: Fete populaire de la Semaine Grasse (vers le soir ) - Dance des Nounous - The Shrove - tide Fair (towards evening) - Dance Of The Wet-Nurses - Jahrmarkt in der Fastnachtswoche (gegen Abend) - Tanz der Ammen
Petrushka: Bulesque In Four Scenes: L' Ours et un paysan - The Bear And The Peasant - Der Bar und ein Bauer
Petrushka: Bulesque In Four Scenes: Un Marchand fetard avec deux Tziganes - The Jovial Merhant With Two Gypsy Girls - Der genubsuchtige Kaufmann mit zwei Zigeunerinnen
Petrushka: Bulesque In Four Scenes: Dance des cochers et des palefreniers - Dance Of The Coachmen And Grooms - Tanz der Kutscher und Stallknechte
Petrushka: Bulesque In Four Scenes: Les Deguises - The Masqueraders - Die Maskierten
Petrushka: Bulesque In Four Scenes: La Rixe: Le Maure et Petrouchka - The Fight: The Moor And Petrushka - Der Kampf : Der Mohr und Petruschka
Petrushka: Bulesque In Four Scenes: Mort de Petrouchka - Death Of Petrushka - Petruschkas Tod
Petrushka: Bulesque In Four Scenes: La Police et le Charlaten - Apparition du double de Petrouchka - The Police And The Charlaten - Apparition Of Petrushka's Double - Die Polizei und der Gaukler - Erscheinung von Petrushkas Geist
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Introduction - Lento
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Les Augures printaniers (Danses des adolescentes) - The Augurs Of Spring (Dance Of The Young Girls) - Vorboten des Fruhlings (Tanze der jungen Madchen)
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Jeu du rapt - Mock Abduction - Spiel der Entfuhrung
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Rondes printanieres - Spring Round Dances - Fruhlingsreigen
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Jeux des cites rivales - Games Of The Rival Tribes - Spiel der feindlichen Stamme
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Cortege du Sage - Procession Of The Wise Elder - Prozession des weisen Alten
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Adoration de la terre (Le Sage) - Adoration Of The Earth (The Wise Elder) - Anbetung der Erde (Der wiese Alte)
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Dance de la terre - Dance Of The Earth -Tanz der Erde
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Introduction - Largo
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Cercles mysterieux des adolescentes - Mystical Circles Of The Young Girls - Geheimnisvolle Krise der jungen Madchen
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Glorification de l' Elue - Glorification Of The Chosen Victim - Verherrlichung der Auserwahlten
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Evocation des ancetres - Summoning Of The Ancestors - Anrufung der Ahnen
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Action rituelle des ancetres - Ritual Of The Ancestors - Weihevolle Handlung der Ahnen
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Dance sacrale (L' Elue ) - Sacrificial Dance (The Chosen Victim) - Opfertanz (Die Auserwahlte)

Amazon.com essential recording

With the New York Philharmonic on its best behavior, Pierre Boulez uncorks a reading of Petrushka that is vibrant, energetic, and full-voiced, with razor-sharp rhythm and ensemble. The solos, played by the likes of Julius Baker (flute) and Paul Jacobs (piano), have never been more effectively done. The recording, with the sizzling sonics typical of CBS's multitrack heyday, offers an X-ray of the score; the remastering is excellent. Pierre Boulez's interpretation of The Rite of Spring is perhaps more French than Russian, but it's impressive nonetheless. While it emphasizes structure, clarity, and texture over raw energy and visceral excitement, and always keeps something in reserve, it is tellingly potent in the "Glorification of the Chosen One" and the "Sacrificial Dance." In this account Boulez and the Cleveland Orchestra established a new standard for ensemble, virtuosity, and idiomatic execution of the music, and their recording remains one of the great achievements of the stereo era. --Ted Libbey

Customer Reviews:

Great sound and performances from a 20th-21st century conductor/composer of another 20th century composer.......2005-09-19

Pierre Boulez leads brilliant, blistering performances of 2 of Stravinsky's famous ballets, "Petrouchka" (1911) and "The Rite of Spring" (1913). The New York Philharmonic recording of "Petrouchka" (recorded in 1971) has moderate tempos in many places, and Boulez is nicely nuanced where needed. Stravinsky's colorful orchestration is always apparent, and Boulez lets the music speak for itself: the elements of cruelty and grotesquery are always obvious in Stravinsky's score of a somewhat disturbed plot, written just a few years prior to World War I, a time of political and social upheaval and instability. This is a fascinating recording, and I've heard many: Ormandy (Sony), Bernstein/New York (CBS), Dutoit/London Symphony (DG), Ansermet (Decca), Rahbari (Naxos), Craft (Naxos), Monteux/Paris Conservatoire (London LP), and Stravinsky/Columbia Symphony (CBS). Boulez tends to be clinical in parts of the score, and Stravinsky can take it. Very fine recording.

"Le Sacre du Printemps" (the rite of spring) recorded in 1969 with the Cleveland Orchestra, is also excellent. Boulez keeps the motion and momentum going throughout the Part I and II, up to the "sacrificial dance" (final movement) - where he takes a tempo which is slower than usual. Boulez's tempo is not too slow, nor does it drag, but it is slower than Bernstein/New York (Columbia LP), Ancerl (Supraphon), Abbado/London (DG), or Mehta/New York (Sony).

Sound in both recordings is excellent, better than many DDD recordings made in the past 15 years. Highly recommended, as a souvenir of one great conductor/composer interpreting another.

Exceptional Performances.......2005-08-06

Pierre Boulez, according to some, is known for being too analytical and quite dry in just about everything he does. The recordings come out as meticulously well-played and quite clear, but atmospherically and musically bland. However, I believe there are exceptions: this recording of two of Stravinsky's warhorses is one of them.

Beginning with Petrouchka, Boulez's reputation for making an ensemble play virtuosically and with great clarity is proven. Even while someone may have complained about there not being equal treatment in recording balance, I got the feeling that it sounded more like sitting in an orchestra hall. The soloists play their hearts out (as does the rest of the orchestra) and I have not found anything to complain about.

The excitement of Petrouchka ends and I feel myself begging for more excellent music, and to my relief, Rite of Spring begins with that eerie bassoon solo. I got to thinking that if the beginning solo was any indication of what was to come from the rest of the orchestra on this masterpiece, I was in for a ride I didn't want to get off. The colors and timbre the orchestra put forth and the blend just blew me away. I could feel the terror of this music and it was ingratiating.

Sonics on this recording are top notch and have been since its 'silver disc' debut 11 years ago. So with the quality of sound and quality of performance adding up to top notch, my conclusion is get it and don't regret it. At the price Amazon offers it for, it's a STEAL.

So you want to start listening to classical music...........2004-07-19

This is a pretty good place to start for neophytes. Stravinsky was ahead of much of the pack and at the same time never really dove completely into 12-tone, and these two are his definitive works. Plus, you can always count on Boulez to give a straightforward reading of anything he's involved with.

Unbeatable value, but only one of many.......2003-12-05

The Rite of Spring is easily one of the most significant pieces of music ever written. Every time I hear a radio station having a listeners' poll of "best pieces of classical music," the Rite is always among the top 5. Though the piece can be challenging for those who have never heard Stravinsky, it's a profound piece that yields more enjoyment with each listen (so the first hundred listens are certainly in the "learning" stage).

Among the recordings out there, each accentuates different aspects of the complexity of Stravinsky's score, and a good handful are worth having. Some are noteworthy for their sheer force, while others for their clarity and refinement. This one, an earlier recording of Cleveland under Boulez, is a nice balance of precision and force. Compared to others, it can seem uninteresting, though. At a budget price, however, it certainly provides return for the dollar. Boston under Ozawa (Reference) is a much more forceful and exact performance, and is also sold at a budget price.

Most of the best recordings are still at full price. Boulez has changed drastically in the last 2 decades--now he is less dogmatic, more flexible, and better liked by orchestra players. Since recording quality has also made great strides, the recent recording of Petrouchka and the Rite with Cleveland under Boulez is hard to pass up. The Petrouchka is especially charming. It is only about $3 more, and every bit worth it.

For sheer force, I have always preferred Saint Louis under Leonard Slatkin, though this may be out of print. For precision, the recent recording of San Francisco under Tilson Thomas cannot be beat.

Comparable to the 1969 Boulez/Cleveland, Karajan's with the Berlin Philharmonic is also a classic, notable for its consistency and depth of musicianship, though Karajan audibly struggles with his orchestra at times (I always found this to add "drama" to the work). For recording quality, perhaps the best is Minnesota under Oue, which is also an amazingly clear and exact reading, but perhaps reserved.

In sum, the 1969 Boulez recording is a classic recording for a budget price, but I'd probably go for the Ozawa for the same price. In any event, Tilson Thomas's is amazing and worth every dollar at full price, and Boulez's more recent one is also good.

Get this! :).......2003-08-17

This album is great... excellent performances and really, really great music.... and it's cheap, too!

Stravinsky: Le Sacre du printemps/L'Oiseau de feu/Jeu de cartes/Petrouchka/Pulcinella

Average customer rating:

Abbado's Stravinsky from his LSO period is very fine
Phenomenal Firebird
Practically Perfect
Wonderful
Great Interpretations of Stravinsky From Abbado

Stravinsky: Le Sacre du printemps/L'Oiseau de feu/Jeu de cartes/Petrouchka/Pulcinella

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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ASIN: B000001GYI
Release Date: 1997-07-15

Tracks:

L'Adoration de la terre: Introduction
L'Adoration de la terre: Les Augures printaniers - Danses des adolescents
L'Adoration de la terre: Jeu du rapt - Game of Abduction
L'Adoration de la terre: Rondes printanieres - Spring Round Dances
L'Adoration de la terre: Jeux des cites rivales - Games of the Rival Tribes
L'Adoration de la terre: Danse de la terre - Dance of the Earth /Le Sacrifice - The Sacrifice
Le Sacrifice: Introduction
Le Sacrifice: Cercles mysterieux des adolescentes - Mystical Circles of the Young Girls
Le Sacrifice: Glorification de l'Elue - Glorification of the Chosen Victim
Le Sacrifice: Action rituelle des ancetres - Ritual of the Elders
Le Sacrifice: Danse sacrale (L'Elue) - Sacrificial Dance (The Chosen Victim)
L'Oiseau De Feu: Introduction
L'Oiseau De Feu: Variation de l'Oiseau de feu - Variation of the Firebird
L'Oiseau De Feu: Ronde des Princesses - The Princesses' Round
L'Oiseau De Feu: Danse infernale du roi Kachtchei - Infernal Dance of King Kahchei
L'Oiseau De Feu: Berceuse - Lullaby
L'Oiseau De Feu: Final - Finale
Jeu de cartes: Premiere donne
Jeu de cartes: Deuxieme donne
Jeu de cartes: Troisieme donne

Tracks:

Petrouchka: Fete populaire de la semaine grasse - The Shrovetide Fair
Petrouchka: Danse russe - Russian Dance
Petrouchka: CHez Petrouchka - Petruschka's Room
Petrouchka: CHez la Maure - The Moor's Room
Petrouchka: Valse: La Ballerine et le Maure - Waltz: The Ballerina and the Moor
Petrouchka: Fete populaire de la semaine grasse - The Shrovetide Fair (towards evening)
Petrouchka: Danse des nounous - Dance of the Nursemaids
Petrouchka: L'ours et un paysan - The Bear and the Peasant
Petrouchka: Un marchand fetard avec deux tziganes - The Jovial Merchant with Two Gypsy Girls
Petrouchka: Danse des cochers et des palefreniers - Dance of the Coachmen and Grooms
Petrouchka: The Masqueraders
Petrouchka: La rixe: Le Maure et Petrouchka - The Fight: The Moor and Petrushka
Petrouchka: Mort de Petrouchka - Death of Petrushka
Petrouchka: La police et le charlatan - The Police and the Showman
Petrouchka: Apparition du double de Petrouchka - Apparation of Petrushka
Pulcinella: Ouverture: Allegro mederato
Pulcinella: Serenata: Larghetto
Pulcinella: Scherzino: Allegro
Flaminio, Act III, Checca's Canzona: Poco piu vivo
Pulcinella: Allegro
Pulcinella: Andantino
Pulcinella: Allegro
Pulcinella: Allegretto
Pulcinella: Allegretto assai
Pulcinella: Allegro
Pulcinella: Largo (Trio), Allegro, Presto
Pulcinella: Allegro - alla breve
Pulcinella: Tarantella
Pulcinella: Andantino
Pulcinella: Allegro
Pulcinella: Gavotta con due variazioni
Pulcinella: Vivo
Pulcinella: Tempo di minuetto
Pulcinella: Allegro assai

Amazon.com

This is an excellent Stravinsky collection on all counts. Claudio Abbado's recordings with the London Symphony Orchestra represent the high-water mark of his career, and DG captured the partnership in generally fine sound. This recording of the complete Pulcinella, with the songs included, set an entirely new standard for the work, and its excellence has worn very well in the couple of decades since its initial release. The performance of Jeu de Cartes (Card Game) also should win many new friends for this entertaining late work. As to the Big Three ballets, all of them were among the most recommendable versions when they first came out, and they still are. --David Hurwitz

Customer Reviews:

Abbado's Stravinsky from his LSO period is very fine.......2006-09-22

Abbado thrived in London in the Seventies and early Eighties with the LSO, and their collaboration produced some of his most vigorous performances. These Stravinsky ballets are among them. (I can't agree with David Hurwitz that Abbado never got better--he became an unparalleled maestro in his last years with the berlin Phil.) DG's bargain two-fer features dynamic, in-your-face sonics, especially in Le Sacre. Admittdly, there are passing moments when Abbado, as was his wont, turns a bit tame and cautious, but the overall impression is of a brash, propulsive Le Sacre. The Firebird Suite is the only item, however, that's seriously underplayed.

Petrushka gets another vivid recording and lots of commitment from the LSo; it also finds Abbado at his most involved. But the main attraction here isn't the most familiar works but Abbado's complete Pulcinella and the Balanchine-commissioned Jeu de Carte (Hurwitz mistakenly calls it a late work. with Stravinsky, late means the 1950-71, not 1937, when this ballet was premiered). Abbado's approach is classical and balanced, but there's a good deal of inner life, which Stravinsky's 'white' ballet music desperately needs if it's to connect with a concert audience.

I especially like the Pulcinella, which is an oddly difficult work to bring off. Abbado plays it lightly, with refined textures and attacks that aren't as dry and sharp as we usually expect, articularly from the composer himself. Purists may find Abbado too mellifluous, but he's never rough and vulgar. He's lucky in his prestige vocalists (Berganza, Shirley-Quirk, and Davies), who struggle just a bit in songs that often defeat lessert singers.

All in all, there's stiff competition in these pieces, but Abbado gives ue the best omnium gatherum of all five.

Phenomenal Firebird.......2006-09-14

This is a great Firebird. Abbado, among many othe things to dmire, has the strings playing sul ponto in the last section rght before the french horn solo. He gets all these overtones from the violins: it sounds like a some ghostkt chorus on top of the orchestra. Amazing performance

Practically Perfect.......2006-03-15

This recording of The Firebird makes me weep every time I hear it...there is a beautifully sophisticated, subtle touch to this recording that ignites the spirit of inpsiration without going crazy; it is still art in it's fullest, noblest sense. The skilled Abbado lets Stravinsky work his magic. Practically perfect.

Wonderful.......2005-03-18

I love these CDs because they have the most important Stravinsky ballets, complete, all on 2 CDs, and they are all great performances. Also, this recording is with the LSO, an amazing orchestra that has both overwhelming power and overwhelming beauty, under the baton of the great Claudio Abbado. Sound quality is very good. Highly recommended.

Great Interpretations of Stravinsky From Abbado.......2002-03-27

This magnificient two CD set contains some of Abbado's finest recordings with the London Symphony Orchestra. His great interpretations of Stravinsky's scores can easily hold their own against those from the likes of Bernstein, Boulez, Haitink, and more recent interpreters such as Gergiev. His "Le Scare du printemps" is one of the most dramatic recordings I've heard, replete with tense, vibrant playing from the London Symphony Orchestra. It is a visceral, emotionally raw account pulsating with energy. Equally noteworthy is his splendid interpretation of "L'Oiseau de feu", which is a brisk, dramatic performance. Both "Jeu de cartes" and the entire score of "Pulcinella" are very pleasant surprises too. My only slight criticism is Abbado's interpretation of "Petrouchka" which doesn't sound as dramatic as Haitink's with the London Philharmonic. The sound quality on these image bit digitally remastered CDs is absolutely stunning; it sounds as good as contemporary recordings.

Average customer rating:

A Fabulous Introduction to Igor Stravinsky!!

The Essential Igor Stravinsky

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Stravinsky: Works for Piano
Stravinsky Conducts Stravinsky: Symphony of Psalms/Symphony in 3 Movements
Stravinsky: Three Greek Ballets (Apollo, Agon, Orpheus)
Stravinsky: Rite Of Spring, Fireworks, Petrouchka / Ozawa, Tilson Thomas, Chicago Symphony
Stravinsky: The Soldier's Tale, Dumbarton Oaks Concerto / Ward, Keeble, Soames, et al

ASIN: B00008NGAW
Release Date: 2003-03-25

Tracks:

Fireworks, Op.4 - Columbia Symphony Orchestra
Danse Infernale De Tous Les Sujets De Kastchei - Columbia Symphony Orchestra
Berceuse (L'Oiseau De Feu) - Columbia Symphony Orchestra
Reveil De Kastchei - Columbia Symphony Orchestra
Mort De Kastchei - Profonds Tenebres - Columbia Symphony Orchestra
Disparition Du Palais Et Des Sortileges De Kastchei, Animation Des Chevaliers Petrifies Allegresse Generale - Columbia Symphony Orchestra
Opening - Philharmonia Orchestra
The Shrove-tide Fair - Philharmonia Orchestra
The Charlatan's Booth - Philharmonia Orchestra
Russian Dance - Philharmonia Orchestra
Petrushka's Room - Philharmonia Orchestra
Introduction - Columbia Symphony Orchestra
Les Augures Printanieres (Danse Des Adolescentes) - Columbia Symphony Orchestra
Jeu Du Rapt - Columbia Symphony Orchestra
Rondes Printanieres - Columbia Symphony Orchestra
Jeux Des Cites Rivales - Columbia Symphony Orchestra
Cortege Du Sage - Columbia Symphony Orchestra
Adoration De La Terre (Le Sage) - Columbia Symphony Orchestra
Danse De La Terre - Columbia Symphony Orchestra
I. Andante - Members Of The CBC Symphony Orchestra
II. Napolitana - Members Of The CBC Symphony Orchestra
III. Espanola - Members Of The CBC Symphony Orchestra
IV. Balalaika - Members Of The CBC Symphony Orchestra
Ragtime For 11 Instruments - Toni Koves
Marche Royale - Columbia Chamber Ensemble
Petit Concert - Columbia Chamber Ensemble
Piano Rag Music - Igor Stravinsky
Sinfonia (Ouverture) - Columbia Symphony Orchestra
Gavotta Con Due Variazioni - Columbia Symphony Orchestra
I. Sinfonia - London Sinfonietta
III. Allegro - Philippe Entremont

Tracks:

Part I. Exaudi Orationem Meam - London Symphony Chorus
IV. Capriccio - Cho-Liang Lin
Chant Sants Paroles - Israel Baker
Premiere Donne - Cleveland Orchestra
I. Tempo Giusto - Columbia Symphony Orchestra
III. Allegretto - London Symphony Orchestra
The Star-Spangled Banner - The Festival Singers Of Toronto
I. Intrada - Columbia Symphony Orchestra
Circus Polka (For A Young Elephant) - CBC Symphony Orchestra
Scherzo A La Russe - Philharmonia Orchestra
III. Con Moto - London Symphony Orchestra
I. Allegro Moderato - Benny Goodman
Good People, Just A Moment - Colin Tilney
Tango - Columbia Jazz Combo
Greeting Prelude (For The Eightieth Birthday Of Pierre Monteux) - Columbia Symphony Orchestra
II. Ma Tu, Cagion Di Quella - Columbia Symphony Orchestra
Elegy For J.F.K. - Charles Russo
Fanfare For A New Theatre - Robert Nagel
II. Exaudi - Donald Gramm
III. Dies Irae - Donald Gramm
IV. Tuba Mirum - Donald Gramm
The Owl And The Pussycat - Robert Craft
Stravinsky In His Own Words - John McClure

Customer Reviews:

A Fabulous Introduction to Igor Stravinsky!!.......2004-05-19

Sony Music's "The Essential Igor Stravinsky" truly lives up to its title. This double-CD set includes nearly every important piece of work (either in part or in whole) by the great Russian composer. The set also presents the pieces in chronological order beginning in 1908 with "Fireworks" and ending in 1966 with his final piece, the short but simple "Owl and The Pussycat". In between, there are excerpts from Stravinsky's most famous works including the first part of "The Rite Of Spring" and highlights from the "Firebird" and "Petrushka" ballets. There are also lesser-known works included as well as his harmonically rearranged version of "The Star-Spangled Banner" (a rendition which caused a stir in the early 1940's). The entire collection concludes with a rare recorded interview with Igor Stravinsky himself in which he remembers the infamous premere of "The Rite Of Spring".
The CD booklet includes detailed liner notes as well as a written tribute by Trey Anastasio of the band Phish. The sound quality of the recordings is amazing (even on the historic 1934 recording of "Piano Rag Music"). All in all, this an excellent collection of works by the great Igor Stravinsky. In a sense, this compilation gives the composer the 'rock musician' treatment. It's a 'greatest hits' album and a career-spanning retrospective that serves as an ideal introduction to Igor's music. Even if your not a fan of Classical music, it isn't difficult to listen to the works of Stravinsky and not be stirred.
Definitely The Essential Igor Stravinsky!!!

Average customer rating:

Stravinsky the Composer, not Stravinsky the Conductor
Staggering! All the Stravinsky I'll ever need!
Magnificent!
Where's my Petrushka?
legendary

Stravinsky Conducts Stravinsky

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Septets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

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Original Jacket Collection: Vladimir Horowitz
Memories and Commentaries: New One-Volume Edition

ASIN: B000031X11
Release Date: 1999-12-07

Customer Reviews:

Stravinsky the Composer, not Stravinsky the Conductor.......2006-09-18

It is a pretty good collection, lots of music from Stravinsky's entire carreer, but one must keep in mind that Stravinsky was a brilliant composer, and not a commanding maestro. You will not necessarily be getting the best recordings of these works. For example, something like the Boulez/Cleveland Rite of Spring is far superior to those in this collection. He is a vastly better conductor, and is much more capable of making the orchestra perform Stravinsky's intentions than Stravinsky is. All in all, however, I am more than glad I own this set.

Staggering! All the Stravinsky I'll ever need!.......2006-05-20

While I had heard some Stravinsky compositions prior to my purchase, this was the first (and only) Stravinsky material I have ever owned. As a young music enthusiast, the draw to me was to hear these pieces as Stravinsky conducted them and to get so many of them at such a great price, not to have the original jackets for the purpose of reminiscing. So, as someone who needed a good jump start into the works of Stravinsky (by Stravinsky), this set has proven totally invaluable. And while more information could have been packed onto these cds, I do appreciate how closely these discs have stuck to the original releases. I don't know about the portion of Petroushka which some reviewers claim is missing (as I don't know any other version), but I was totally blown away at hearing this version of Petroushka anyhow. In all, for whatever faults some sticklers may find here or there with this set, the value of this material collected in such a way (and at such a price) by far outweighs any possible faults.

Magnificent!.......2006-03-02

A great collection. There is simply no substitute for hearing Stravinsky as the great composer wanted to have his music played. Here is so much and also so varied a collection. I have been enjoying this set a great deal. One of the 20th century's greatest composers conducting his own compositions.

Where's my Petrushka?.......2003-08-01

The main reason I bought this box is because I was introduced to Stravinsky's Petrushka in the spring of 2003, and I loved it.
Along with Rite of Spring I think it's the most brilliant music Mr. Stravinsky ever wrote...so, I've been listening to the 34-minute long 1960 CSO recording of it at least once a day since I first heard it, naturally sort of memorizing it, but it didn't fit when I made this CD spin. The recording of Petrushka in this box is the VERY SAME RECORDING (1960) that I'd listened to, but it's cut to a suite! It's only 24 minutes long. You can tell it's obviously cut at certain points if you're familiar with the uncut version. 10 WHOLE MINUTES ARE MISSING FROM "PETRUSHKA!" I was (and still am) very disappointed by this.
Familiarizing myself with the