Stravinsky: L'Oiseau de feu; Feu d'artifice; 4 Etudes (Remastered) Chicago Symphony Orchestra & Pierre Boulez

• Igor Stravinsky (1882 - 1971): L'Oiseau de feu, K010:
• 1 Stravinsky: L'Oiseau de feu, K010: I. Introduction 02:32
• 2 Stravinsky: L'Oiseau de feu, K010: II. Le jardin enchanté de Kastchei 01:47
• 3 Stravinsky: L'Oiseau de feu, K010: III. Apparition de l’oiseau de feu, poursuivi par Ivan Tsarevitch 02:26
• 4 Stravinsky: L'Oiseau de feu, K010: IV. Danse de l’oiseau de feu 01:22
• 5 Stravinsky: L'Oiseau de feu, K010: V. Capture de l’oiseau de feu par Ivan Tsarevitch 00:53
• 6 Stravinsky: L'Oiseau de feu, K010: VI. - VII. Supplications de l’oiseau de feu - Apparition des treize princesses enchantées 08:14
• 7 Stravinsky: L'Oiseau de feu, K010: VIII. Jeu de princesses avec les pommes d'or 02:24
• 8 Stravinsky: L'Oiseau de feu, K010: IX. Brusque apparition d'Ivan Tsarevitch 01:38
• 9 Stravinsky: L'Oiseau de feu, K010: X. Khorovod (Ronde) des princesses 03:43
• 10 Stravinsky: L'Oiseau de feu, K010: XI. Lever du jour 01:32
• 11 Stravinsky: L'Oiseau de feu, K010: XII. - XIV. Carillon féérique, apparition des monstres - Arrivée de Kastchei l’immortel 05:41
• 12 Stravinsky: L'Oiseau de feu, K010: XV. Danse de la suite de Kastchei enchantée par l'oiseau de feu 00:44
• 13 Stravinsky: L'Oiseau de feu, K010: XVI. Danse infernale de tous les sujets de Kastchei 04:43
• 14 Stravinsky: L'Oiseau de feu, K010: XVII. Berceuse (L'Oiseau de feu) 05:17
• 15 Stravinsky: L'Oiseau de feu, K010: XIX. Disparition du palais et des sortilèges de Kastchei 03:13
• Feu d'artifice, K007:
• 16 Stravinsky: Feu d'artifice, K007 03:54
• 4 Etudes for Orchestra, K051:
• 17 Stravinsky: 4 Etudes for Orchestra, K051: No. 1, Danse 00:59
• 18 Stravinsky: 4 Etudes for Orchestra, K051: No. 2, Excentrique 02:11
• 19 Stravinsky: 4 Etudes for Orchestra, K051: No. 3, Cantique 03:38
• 20 Stravinsky: 4 Etudes for Orchestra, K051: No. 4, Madrid 02:48
• Total Runtime 59:39

Info for Stravinsky: L'Oiseau de feu; Feu d'artifice; 4 Etudes (Remastered)

Pierre Boulez, der bereits in den 70er Jahren eine donnernde Version des Feuervogels geschrieben hatte, besuchte dieses Hauptwerk erneut, diesmal jedoch mit dem Chicago Symphony Orchestra. Der französische Dirigent hat sich seit langem auf Strawinskys Ballette spezialisiert. Man muss zugeben, dass die Strenge seiner Analyse perfekt zu dieser Partitur passt. Sein Dirigat ist klar und präzise. Er nutzt die großartigen Fähigkeiten des Orchesters in Bezug auf Klangfarben und Farben optimal aus. Unter seinem klugen Taktstock wird sein Feuerwerk zu einer Seite mit einer Virtuosität, die Respekt einflößt. Die Aufnahme ist sensationell, aber manchmal ist die Dynamik so stark, dass eine etwas anämische Ausrüstung darunter leiden könnte. Sie sind also gewarnt.

Chicago Symphony Orchestra
Pierre Boulez, conductor

Digitally remastered

Pierre Boulez
was born in 1925 in Montbrison, France. He first studied mathematics, then music at the Paris Conservatory (CNSM), where his teachers included Olivier Messiaen and René Leibowitz. In 1954, with the support of Jean-Louis Barrault, he founded the Domaine musical in Paris – one of the first concert series dedicated entirely to the performance of modern music – and remained their director until 1967. Boulez began his conducting career in 1958 with the Südwestfunk Orchestra in Baden-Baden, Germany. From 1960 to 1962 he taught composition at the Music Academy in Basel. As a composer, conductor and teacher, Pierre Boulez has made a decisive contribution to the development of music in the 20th century and inspired generations of young musicians with his pioneering spirit. His recordings have earned him a total of 26 Grammys and vast numbers of other prestigious awards.

Pierre Boulez is equally distinguished as composer, conductor, and thinker about music. He first came to prominence in 1955 as a composer, with a performance of his Le Marteau sans maître at the International Festival Society for Contemporary Music at Baden-Baden, Germany. As a teacher and writer, Boulez has been a spokesman for new music and a new aesthetic of music. He is the author of numerous articles, essays, and several books on music. In 1974, the President of France, Georges Pompidou, invited him to found and direct a music research facility at the Centre Georges Pompidou in Paris. This prestigious Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) is home base for the Ensemble InterContemporain. He is also the co-founder of Cité de la Musique, a recently created music center in Paris.

For his New York Philharmonic debut on March 13, 1969, Boulez conducted Debussy’s Jeux and La Mer, as well as the Berg Violin Concerto and Varèse’s Intégrales. His performance of Le Sacre du printemps with the New York Philharmonic during that initial engagement prompted the Orchestra to engage him as its Music Director beginning in the 1971-72 season. In that post, and as Principal Conductor of the BBC Symphony Orchestra (concurrently, 1971-74), he broadened his repertoire to provide audiences with mixed programs of older classics and more recent music.

Under Boulez, the New York Philharmonic introduced such innovative series as the Rug Concerts and Prospective Encounters, which were built around programs of contemporary music and provided opportunities for the audience to interact with artists involved in the production.

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