Stravinsky - Petrushka, Pulcinella [Decca 443 774-2 DH] {Europe 1995}

×

Stravinsky - Petrushka, Pulcinella [Decca 443 774-2 DH] {Europe 1995}

Close

Stravinsky - Petrushka, Pulcinella
Royal Concertgebouw Orchestra / Riccardo Chailly
FLAC, EAC, LOG & CUE | Lossless Artwork | Size: 478 MB
Label/Cat#: Decca 443 774-2 DH | Country/Year: Europe 1995
Genre: Russian Ballet | Hoster: Filesonic/Uploaded/Filepost

MD5 [X] CUE [X] LOG [X] INFO TEXT [X] ARTWORK [X]

webfind [] selfrip [X]

×

Stravinsky - Petrushka, Pulcinella [Decca 443 774-2 DH] {Europe 1995}

Close

×

Stravinsky - Petrushka, Pulcinella [Decca 443 774-2 DH] {Europe 1995}

Close

×

Stravinsky - Petrushka, Pulcinella [Decca 443 774-2 DH] {Europe 1995}

Close

Igor Fyodorovich Stravinsky (Russian: ????? ????????? ???????????, transliterated: Igor' Fëdorovic Stravinskij; Russian pronunciation: [?ig?r? ?f?jod?r?v??t? str?'v?insk??j]); 17 June [O.S. 5 June] 1882 – 6 April 1971) was a Russian, later naturalized French, and then naturalized American composer, pianist, and conductor.

He is widely acknowledged as one of the most important and influential composers of 20th century music.[1][2][3] He was named by Time magazine as one of the 100 most influential people of the century.[4] He became a naturalized French citizen in 1934 and a naturalized US citizen in 1945. In addition to the recognition he received for his compositions, he achieved fame as a pianist and a conductor, often at the premieres of his works.

Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and performed by Diaghilev's Ballets Russes (Russian Ballets): The Firebird (1910), Petrushka (1911/1947), and The Rite of Spring (1913). The Rite, whose premiere provoked a riot, transformed the way in which subsequent composers thought about rhythmic structure, and was largely responsible for Stravinsky's enduring reputation as a musical revolutionary, pushing the boundaries of musical design.

After this first Russian phase Stravinsky turned to neoclassicism in the 1920s. The works from this period tended to make use of traditional musical forms (concerto grosso, fugue, symphony), frequently concealed a vein of intense emotion beneath a surface appearance of detachment or austerity, and often paid tribute to the music of earlier masters, for example J.S. Bach and Tchaikovsky.

In the 1950s he adopted serial procedures, using the new techniques over his last twenty years. Stravinsky's compositions of this period share traits with examples of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a few two- or three-note cells, and clarity of form, of instrumentation, and of utterance.

He published a number of books throughout his career, almost always with the aid of a collaborator, sometimes uncredited. In his 1936 autobiography, Chronicles of My Life, written with the help of Walter Nouvel, Stravinsky included his well-known statement that "music is, by its very nature, essentially powerless to express anything at all."[5] With Alexis Roland-Manuel and Pierre Souvtchinsky he wrote his 1939–40 Harvard University Charles Eliot Norton Lectures, which were delivered in French and later collected under the title Poétique musicale in 1942 (translated in 1947 as Poetics of Music).[6] Several interviews in which the composer spoke to Robert Craft were published as Conversations with Igor Stravinsky.[7] They collaborated on five further volumes over the following decade. wikipedia

Petrouchka or Petrushka (French: Pétrouchka; Russian: ????????) is a ballet with music by Russian composer Igor Stravinsky, composed in 1910–11 and revised in 1947.

Petrushka is a story of a Russian traditional puppet, Petrushka, who is made of straw and with a bag of sawdust as his body, but who comes to life and develops emotions.

According to Andrew Wachtel, Petrushka is a work that fuses music, ballet, choreography and history in perfect balance. It evokes Richard Wagner's Gesamtkunstwerk (total artwork), but with a Russian approach.

Stravinsky composed the music during the winter of 1910–11 for Sergei Diaghilev's Ballets Russes. It was premièred in Paris at the Théâtre du Châtelet on June 13, 1911 under conductor Pierre Monteux, with choreography by Mikhail Fokine and sets by Alexandre Benois. The title role was danced by Vaslav Nijinsky.[2] One critic approached Diaghilev after a dress rehearsal and said, "And it was to hear this that you invited us?" Diaghilev succinctly replied, "Exactly".[cite this quote] When Diaghilev and his company traveled to Vienna in 1913, the Vienna Philharmonic initially refused to play the score, deriding Petrushka as schmutzige Musik ("dirty music").[citation needed]

The work is characterized by the so-called Petrushka chord (consisting of C major and F? major triads played together), a bitonality device heralding the appearance of the main character.

1947 revised version

Stravinsky's 1947 revised version is scored for the following smaller orchestra: 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 3 clarinets in B flat (3rd doubling bass clarinet in B flat), 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in B flat and C, 3 trombones, tuba, timpani, bass drum, cymbals, snare drum, tambourine, triangle, tamtam, xylophone, piano, celesta, harp and strings.

Compared to the 1911 version, the 1947 version requires: one less flute; two fewer oboes, but a dedicated English horn player instead of one doubled by the fourth oboe; one fewer bassoon, but a dedicated contrabassoon; neither of two cornets, but an additional trumpet; one fewer snare drum and no tenor drum, thus removing the offstage instruments; no glockenspiel; and one fewer harp. wikipedia

Pulcinella is a ballet by Igor Stravinsky based on an 18th-century play — Pulcinella is a character originating from Commedia dell'arte. The ballet premiered at the Paris Opera on 15 May 1920 under the baton of Ernest Ansermet. The dancer Léonide Massine created both the libretto and choreography, and Pablo Picasso designed the original costumes and sets. It was commissioned by Sergei Diaghilev. Diaghilev wanted a ballet based on an early eighteenth-century Commedia dell'arte libretto and music believed (in Diaghilev's time) to have been composed by Giovanni Pergolesi. (Although the music was then attributed to Pergolesi, much of that attribution has since proved to be spurious;[1] some of the music may have been written by Domenico Gallo, Carlo Ignazio Monza, and possibly Alessandro Parisotti and Unico Wilhelm van Wassenaer.) Conductor Ernest Ansermet wrote to Stravinsky in 1919 about the prospect, but the composer initially did not like the idea of music by Pergolesi. However, once he studied the scores, which Diaghilev had found in libraries in Naples and London, he changed his mind. Stravinsky rewrote this older music in a more modern way by borrowing specific themes and textures, but interjecting modern rhythms, cadences and harmonies. Pulcinella is scored for a modern chamber orchestra with soprano, tenor, and baritone soloists. Pulcinella is often considered to be the first piece of Stravinsky's neoclassical period. wikipedia