legoru
04-07-2014, 12:59 PM
"Le sacre du printemps" and "Les Noces" is the greatests and most influential compositions of the music of the time, inspiring dumbfounded enthusiasm in colleagues like Debussy and Bart�k, and both of them (although the former was shocked by the music's unbridled savagery, and the latter commented on the work's fragmentary nature) sensed its importance for music history. Heres two version so called "Russian choreographic scenes with singing and music" "Les Noces" ("The wedding") (dance cantata or ballet with vocalists) - version for full symphony orchestra with cimbals (1917) and final version four pianos, percussion, and a vocal ensemble (1923). Record from International Bart�k Festival, Szombathely. ℗ 1988 Hungaroton
Igor Stravinsky (1882-1971)
The Wedding. Russian choreographic scenes with singing and music
The 1923 Version - For pianos, percussion, and a vocal ensemble
1 Scene 1: The Bride's Chamber 5:07
2 Scene 2: At The Bridegroom's 5:33
3 Scene 3: The Bride's Departure 2:54
4 Scene 4: The Wedding Feast 9:26
The 1917 Version - For orchestra
5 Scene 1: The Bride's Chamber 5:11
6 Scene 2: At The Bridegroom's 5:51
7 Scene 3: The Bride's Departure 2:54
8 Scene 4: The Wedding Feast 9:28
Soprano Vocals – Alla Ablaberdyeva
Mezzo-soprano Vocals – Ludmilla Ivanova
Tenor Vocals – Alexey Martinov
Bass Vocals – Anatoly Safiulin
Slovak Philharmonic Chorus
P�ter E�tv�s - Conductor
Savaria Symphony Orchestra (5-8)
Percussion – Amadinda Percussion Ensemble* (1-4)
Piano – Adrienne Hauser, Pi-hsien Chen, Imre Rohmann, Zolt�n Kocsis (1-4)
Sung in Russian. Record from International Bart�k Festival, Szombathely.
Total time 46:33
https://mega.co.nz/#!kcES2YQA!WxN9HxyPzNGlp8q3XZ-zEBTqcm0hQDjTsE9uhAQRc2Q
Flac + covers, 188mb
Stravinsky first conceived of writing the ballet in 1913 and completed it in short score by October 1917. During a long gestation period its orchestration changed dramatically. At first conceived for an expanded symphony orchestra similar to that of The Rite of Spring, it went through numerous variations, including at one point the use of synchronised roll-operated instruments, including the pianola, but he abandoned that version when it was only partially completed, owing to the tardiness of the Parisian piano firm of Pleyel et Cie in constructing the two-keyboard cimbaloms, known subsequently as luth�als.
Stravinsky finally version (1923) settled on the following scoring: soprano, mezzo-soprano, tenor, and bass soloists, mixed chorus, and two groups of percussion instruments – pitched percussion, including four pianos, and unpitched percussion. This orchestration exemplifies Stravinsky's increasing proclivity towards stripped down, clear and mechanistic sound groups in the decade after The Rite, although he would never again produce such an extreme sonic effect solely with percussion.
The ballet is one of Stravinsky's hybrids, a "dance cantata" that combines dance with instrumental music and solo and choral singing. There is not really a plot to the ballet; instead, it is a series of scenes depicting the ritualized preparations for a Russian peasant wedding. Stravinsky himself wrote the text, drawing on Russian popular texts and songs for his words. The piece is constructed in two parts, with four scenes. Part one consists of scene one, "At the Bride's House," scene two, "At the Bridegroom's House," and scene three, "The Bride's Departure." Part two contains the final and most elaborate scene, "The Wedding Feast." In each scene, simple melodies set texts describing the bride's anxiety, her commiserations with her bridesmaids, the parents' sorrow at the loss of their children, and the groom's anticipation of the wedding night
The music of Les noces is deceptively simple; Stravinsky often limits melodies to just three or four notes. Les noces also exemplifies Stravinsky's virtuosic manipulation of small melodic fragments or cells. These cells, or "popevki," are fragments of folk tunes -- in many cases folk fragments invented by the composer -- that are repeated, overlapped, juxtaposed, inverted, and reordered throughout the work, resulting in a seamless texture. Rhythms are simple, and the text setting is syllabic, but metric irregularity and shifting barlines create tension and subvert expectation pervasively. In all, Les noces is the apogee of Stravinsky's "Russian" period, representing his sublimation of the folk traditions that had interested him for years. Its austerity and mechanical character are forward looking, pointing towards forthcoming works in Stravinsky's "new," scaled-down Neo-Classical aesthetic.
P�ter E�tv�s (1944) - is a Hungarian composer and conductor. As director of the Ensemble InterContemporain, he was exposed to many exotic and respected samples of concert music, as is evidenced in the variety of timbres and sound-worlds within his music
Igor Stravinsky (1882-1971)
The Wedding. Russian choreographic scenes with singing and music
The 1923 Version - For pianos, percussion, and a vocal ensemble
1 Scene 1: The Bride's Chamber 5:07
2 Scene 2: At The Bridegroom's 5:33
3 Scene 3: The Bride's Departure 2:54
4 Scene 4: The Wedding Feast 9:26
The 1917 Version - For orchestra
5 Scene 1: The Bride's Chamber 5:11
6 Scene 2: At The Bridegroom's 5:51
7 Scene 3: The Bride's Departure 2:54
8 Scene 4: The Wedding Feast 9:28
Soprano Vocals – Alla Ablaberdyeva
Mezzo-soprano Vocals – Ludmilla Ivanova
Tenor Vocals – Alexey Martinov
Bass Vocals – Anatoly Safiulin
Slovak Philharmonic Chorus
P�ter E�tv�s - Conductor
Savaria Symphony Orchestra (5-8)
Percussion – Amadinda Percussion Ensemble* (1-4)
Piano – Adrienne Hauser, Pi-hsien Chen, Imre Rohmann, Zolt�n Kocsis (1-4)
Sung in Russian. Record from International Bart�k Festival, Szombathely.
Total time 46:33
https://mega.co.nz/#!kcES2YQA!WxN9HxyPzNGlp8q3XZ-zEBTqcm0hQDjTsE9uhAQRc2Q
Flac + covers, 188mb
Stravinsky first conceived of writing the ballet in 1913 and completed it in short score by October 1917. During a long gestation period its orchestration changed dramatically. At first conceived for an expanded symphony orchestra similar to that of The Rite of Spring, it went through numerous variations, including at one point the use of synchronised roll-operated instruments, including the pianola, but he abandoned that version when it was only partially completed, owing to the tardiness of the Parisian piano firm of Pleyel et Cie in constructing the two-keyboard cimbaloms, known subsequently as luth�als.
Stravinsky finally version (1923) settled on the following scoring: soprano, mezzo-soprano, tenor, and bass soloists, mixed chorus, and two groups of percussion instruments – pitched percussion, including four pianos, and unpitched percussion. This orchestration exemplifies Stravinsky's increasing proclivity towards stripped down, clear and mechanistic sound groups in the decade after The Rite, although he would never again produce such an extreme sonic effect solely with percussion.
The ballet is one of Stravinsky's hybrids, a "dance cantata" that combines dance with instrumental music and solo and choral singing. There is not really a plot to the ballet; instead, it is a series of scenes depicting the ritualized preparations for a Russian peasant wedding. Stravinsky himself wrote the text, drawing on Russian popular texts and songs for his words. The piece is constructed in two parts, with four scenes. Part one consists of scene one, "At the Bride's House," scene two, "At the Bridegroom's House," and scene three, "The Bride's Departure." Part two contains the final and most elaborate scene, "The Wedding Feast." In each scene, simple melodies set texts describing the bride's anxiety, her commiserations with her bridesmaids, the parents' sorrow at the loss of their children, and the groom's anticipation of the wedding night
The music of Les noces is deceptively simple; Stravinsky often limits melodies to just three or four notes. Les noces also exemplifies Stravinsky's virtuosic manipulation of small melodic fragments or cells. These cells, or "popevki," are fragments of folk tunes -- in many cases folk fragments invented by the composer -- that are repeated, overlapped, juxtaposed, inverted, and reordered throughout the work, resulting in a seamless texture. Rhythms are simple, and the text setting is syllabic, but metric irregularity and shifting barlines create tension and subvert expectation pervasively. In all, Les noces is the apogee of Stravinsky's "Russian" period, representing his sublimation of the folk traditions that had interested him for years. Its austerity and mechanical character are forward looking, pointing towards forthcoming works in Stravinsky's "new," scaled-down Neo-Classical aesthetic.
P�ter E�tv�s (1944) - is a Hungarian composer and conductor. As director of the Ensemble InterContemporain, he was exposed to many exotic and respected samples of concert music, as is evidenced in the variety of timbres and sound-worlds within his music