Franck: Symphony in D Minor / Stravinsky: Petrouchka Chicago Symphony Orchestra & Sir Georg Solti

• César Franck (1822-1890): Symphony in D Minor
• 1 I. Lento - Allegro ma non troppo 18:03
• 2 II. Allegretto 10:38
• 3 III. Finale - Allegro non troppo 10:22
• Igor Stravinsky (1882-1971): Petrouchka
• 4 Scene I - The Shrovetide Fair: Vivace 05:38
• 5 Scene I - The Shrovetide Fair: The Magic Trick 01:57
• 6 Scene I - The Shrovetide Fair: Russian Dance 02:32
• 7 Scene II - Pétrouchka's Room 04:10
• 8 Scene III - The Moor's Room: Feroce stringendo 03:22
• 9 Scene III - The Moor's Room: Dance of the Ballerina 00:44
• 10 Scene III - The Moor's Room: Waltz - The Ballerina and the Moor 03:30
• 11 Scene IV - The Shrovetide Fair: Con moto 01:03
• 12 Scene IV - The Shrovetide Fair: The Wet Nurses' Dance 02:40
• 13 Scene IV - The Shrovetide Fair: The Peasant and the Bear 01:28
• 14 Scene IV - The Shrovetide Fair: The Jovial Merchant with Two Gypsy Girls 00:54
• 15 Scene IV - The Shrovetide Fair: Dance of the Coachmen and the Grooms 02:09
• 16 Scene IV - The Shrovetide Fair: The Masqueraders 01:42
• 17 Scene IV - The Shrovetide Fair: The Fight - The Moor and Petrushka 00:45
• 18 Scene IV - The Shrovetide Fair: Death of Pétrouchka 01:37
• 19 Scene IV - The Shrovetide Fair: Pétrouchka's Ghost 00:44
• Total Runtime 01:13:58

Info zu Franck: Symphony in D Minor / Stravinsky: Petrouchka

Universally acclaimed landmark recordings by the beloved French maestro, with two of America's premier orchestras, the Chicago Symphony Orchestra and the Boston Symphony Orchestra.

„A few decades ago, Franck’s Symphony in D minor was standard repertoire, and every major conductor recorded it. Now, the work’s high romantic sentimentality seems to have fallen out of fashion, and new releases are far less common. Interpretations run the gamut from reasonably strict and “classical”, to totally demented (think: Stokowski). Monteux’s falls decidedly into the “classical” category, but never to the detriment of expressivity.

Consider how he handles the luscious second subject of the first movement, with a singing tone and real urgency, the ensuing accelerando done with passion, excitement, and yes, taste. The Chicago Symphony plays gloriously (this was the Reiner era, let’s not forget), responding to Monteux’s every perfectly judged nuance. It has become fashionable lately to disparage this performance, in addition to dogging the work, but as Tovey once wrote, “All’s not false that’s taught in the public schools.” This recording was the best in its day, both interpretively and sonically, and so it remains 50 years on.

The coupling of Pétrouchka might seem odd–there’s only so much Monteux material available in stereo to RCA, but it’s equally wonderful. Indeed, if I had to choose a single CD to represent the conductor’s art at its best, this would probably be the one. Again, he has a great orchestra at his disposal, one fully at home in the idiom, and he leads a performance at once lovingly detailed but also brilliant and glittering. In the Danse Russe Monteux captures the music’s mechanical, cartoonish qualities to perfection, while the folk dances in the concluding tableau have all the rhythmic bounce and gaiety that one could ask. The sonics are superb even by modern standards. What a joy this disc is!“ (David Hurwitz, ClassicsToday.com)

Chicago Symphony Orchestra (Franck)
Boston Symphony Orchestra (Stravinsky)
Pierre Monteux, conductor

Keine Biografie vorhanden.

Booklet für Franck: Symphony in D Minor / Stravinsky: Petrouchka