wimpel69
11-14-2014, 11:20 AM
EAC-FLAC link below. This is my own rip. Complete artwork,
LOG and CUE files included. Do not share. Buy the original!
Please leave a "Like" or "Thank you" if you enjoyed this!
Sergei Prokofiev's Symphony No.1 (1916-17) represents the composer's earliest mature effort in a genre he
returned to time and again for the remainder of his career. Though the symphony received a warm reception
in Russia and abroad -- and remains one of the composer's most frequently programmed works -- Prokofiev's
attitude toward it remained ambiguous, vacillating between dismissive and defensive.
The First Symphony is especially intriguing in light of the view of Prokofiev as a leading figure of the
Russian avant-garde in the early decades of the twentieth century. The work's anachronistic "Classical" moniker
seems particularly apt in respect to a number of its features. The symphony is in a familiar four-movement form,
the two fast outer movements (Allegro and Vivace, respectively) bracketing a slow movement (Larghetto) and
one inspired by a stylized dance (Gavotto); its textures are economical, its scoring appropriate to an orchestra
of the late eighteenth or early nineteenth century; and it is of a decidely lighthearted, even humorous character,
much in the spirit of the symphonies of Haydn. Indeed, it should be noted that the "Classical" subtitle was
Prokofiev's own; scholar R.D. Darell has suggested that the composer may have chosen it partly to describe the
work's character, partly because he hoped that the work would one day become a classic, and partly out of
pure mischief directed at critics. (In regard to the last, Prokofiev wrote that he meant to "tease the geese.")
Though the symphony is at times sharply dissonant, it maintains a steadfastly tonal basis. Certainly, the
"Classical" model is stretched in the work's harmonic language, which is marked by Prokofiev's
characteristic ambiguous cadences and sudden shifts between tonal centers. Still, the work retains many
of the trappings of Viennese Classicism, from the sonata-allegro form of the first movement, to the
Mozartean gavotte and trio of the third, to the exuberant, witty finale. Despite the suggestion of its title,
the "Classical" Symphony is not really neo-Classical along the lines of contemporaneous works by
Stravinsky, but rather a work of elegant simplicity that evokes the spirit of high Viennese Classicism
filtered through the more adventurous sensibilities of Prokofiev's own musical language.
Prokofiev had a serious heart attack in 1945 and suffered a fall at the same time; his health declined
slowly for eight years. He was too weak to put up any objection to the 1948 Party edicts about how
music should serve the Soviet State. The restrained and gentle 1952 Symphony No.7 was composed
in this situation, a year before his death. Many find its simplicity and lyricism deeply affecting. Others
consider it a pale echo of Prokofiev's earlier muscular style.
The symphony is in the standard four movements, with a restrained first movement possessing a
stately tempo and a lyrical opening theme of unusual melancholy and sense of resignation. The key
of C sharp minor, which does not resound very brilliantly or richly from any standard orchestral
instrument, seems to enforce the sense of life dimming. The scherzo second movement is much
livelier, recasting Prokofiev's earlier, often grotesque, sense of humor into childish jokes. The third
movement is also rather funny in effect, although it is a strained humor. The finale is more energetic,
with lively woodwinds and tomfoolery, then a lyrical major transformation, considerably more
optimistic in tone, of the symphony's opening theme. Whether the ending is a quicksilvery sparkling
conclusion or a less brilliant winding down depends on which edition of the work is chosen
by the conductor.
Prokofiev's comic opera The Love for Three Oranges, Op.33 (1919) won a place in the
repertoire only with great difficulty. First produced in 1921, the work was greeted with rather
dismal reviews and an even worse public response. Prokofiev found a partial solution to this
problem by extracting six numbers from the opera, revising them, and assembling them
into a six-movement concert suite in 1924. "The Ridiculous People," adapted from the opera's
prologue, depicts the arguments between the various characters (represented by distinct
instrumental ideas) and the ultimate subjugation of their ideas by the forceful Ridiculous
People themselves. In "Scene from Hades," Prokofiev uses eerie instrumental effects to
represent a card game played by Fata Morgana in Hell. The "March," made famous by dozens
of arrangements (it was a staple of violinist Jascha Heifetz's recitals), finds the sick Prince
being carried to a party contrived to make him smile. The movement's march rhythms are
continually inflected by strident, "wrong-note" sonorities. The remainder of the suite is
comprised of "Scherzo" (here reworked into an effective orchestral miniature), a romantic
interlude ("The Prince and the Princess"), and "Flight," a comic romp in which the villains
are finally routed.
Music Composed by
Sergei Prokofiev
Played by
The Philharmonia Orchestra
Conducted by
Nicolai Malko
"A good record is always a good record and this one is a very good one indeed. Originally
recorded in 1955, its quality is astonishing. The balance is excellent and the actual sound seems
hardly dated. It is bright and vivid without being artificial and the natural resonance of the halt
never clouds detail. The playing of the Philharmonia at its peak is marvellous: try the deliciously
elegant string line in the Larghetto of the Classical Symphony, or the chortling humour of both
strings and wind in the finale of the Seventh. What an attractive work the latter is in Malko's
hands, with delicacy and a warm but not cloying romanticism and wit all part of the overall
picture. The suite from The love for three oranges is no less tellingly characterized, the
"March" crisply buoyant, the romantic interlude touchingly lyrical. Highly recommended
on all counts."
Gramophone
DOWNLOAD LINK (FLAC) - https://mega.co.nz/#!CURTXAAa!VW6a1d6OSBp1sX4IOfghS2RRoV5d9JnnssYj_IK IlWY
Source: EMI Classics, 1989 (my rip!)
Format: FLAC(RAR), ADD Stereo, Level: -5
Ripping: EAC 1.0, Secure Mode
File Size: 264 MB (incl. artwork, booklet, log & cue)
Enjoy! Don't share! Buy the origina! Please leave a "Like" or "Thank you" if you enjoyed this! :)
LOG and CUE files included. Do not share. Buy the original!
Please leave a "Like" or "Thank you" if you enjoyed this!
Sergei Prokofiev's Symphony No.1 (1916-17) represents the composer's earliest mature effort in a genre he
returned to time and again for the remainder of his career. Though the symphony received a warm reception
in Russia and abroad -- and remains one of the composer's most frequently programmed works -- Prokofiev's
attitude toward it remained ambiguous, vacillating between dismissive and defensive.
The First Symphony is especially intriguing in light of the view of Prokofiev as a leading figure of the
Russian avant-garde in the early decades of the twentieth century. The work's anachronistic "Classical" moniker
seems particularly apt in respect to a number of its features. The symphony is in a familiar four-movement form,
the two fast outer movements (Allegro and Vivace, respectively) bracketing a slow movement (Larghetto) and
one inspired by a stylized dance (Gavotto); its textures are economical, its scoring appropriate to an orchestra
of the late eighteenth or early nineteenth century; and it is of a decidely lighthearted, even humorous character,
much in the spirit of the symphonies of Haydn. Indeed, it should be noted that the "Classical" subtitle was
Prokofiev's own; scholar R.D. Darell has suggested that the composer may have chosen it partly to describe the
work's character, partly because he hoped that the work would one day become a classic, and partly out of
pure mischief directed at critics. (In regard to the last, Prokofiev wrote that he meant to "tease the geese.")
Though the symphony is at times sharply dissonant, it maintains a steadfastly tonal basis. Certainly, the
"Classical" model is stretched in the work's harmonic language, which is marked by Prokofiev's
characteristic ambiguous cadences and sudden shifts between tonal centers. Still, the work retains many
of the trappings of Viennese Classicism, from the sonata-allegro form of the first movement, to the
Mozartean gavotte and trio of the third, to the exuberant, witty finale. Despite the suggestion of its title,
the "Classical" Symphony is not really neo-Classical along the lines of contemporaneous works by
Stravinsky, but rather a work of elegant simplicity that evokes the spirit of high Viennese Classicism
filtered through the more adventurous sensibilities of Prokofiev's own musical language.
Prokofiev had a serious heart attack in 1945 and suffered a fall at the same time; his health declined
slowly for eight years. He was too weak to put up any objection to the 1948 Party edicts about how
music should serve the Soviet State. The restrained and gentle 1952 Symphony No.7 was composed
in this situation, a year before his death. Many find its simplicity and lyricism deeply affecting. Others
consider it a pale echo of Prokofiev's earlier muscular style.
The symphony is in the standard four movements, with a restrained first movement possessing a
stately tempo and a lyrical opening theme of unusual melancholy and sense of resignation. The key
of C sharp minor, which does not resound very brilliantly or richly from any standard orchestral
instrument, seems to enforce the sense of life dimming. The scherzo second movement is much
livelier, recasting Prokofiev's earlier, often grotesque, sense of humor into childish jokes. The third
movement is also rather funny in effect, although it is a strained humor. The finale is more energetic,
with lively woodwinds and tomfoolery, then a lyrical major transformation, considerably more
optimistic in tone, of the symphony's opening theme. Whether the ending is a quicksilvery sparkling
conclusion or a less brilliant winding down depends on which edition of the work is chosen
by the conductor.
Prokofiev's comic opera The Love for Three Oranges, Op.33 (1919) won a place in the
repertoire only with great difficulty. First produced in 1921, the work was greeted with rather
dismal reviews and an even worse public response. Prokofiev found a partial solution to this
problem by extracting six numbers from the opera, revising them, and assembling them
into a six-movement concert suite in 1924. "The Ridiculous People," adapted from the opera's
prologue, depicts the arguments between the various characters (represented by distinct
instrumental ideas) and the ultimate subjugation of their ideas by the forceful Ridiculous
People themselves. In "Scene from Hades," Prokofiev uses eerie instrumental effects to
represent a card game played by Fata Morgana in Hell. The "March," made famous by dozens
of arrangements (it was a staple of violinist Jascha Heifetz's recitals), finds the sick Prince
being carried to a party contrived to make him smile. The movement's march rhythms are
continually inflected by strident, "wrong-note" sonorities. The remainder of the suite is
comprised of "Scherzo" (here reworked into an effective orchestral miniature), a romantic
interlude ("The Prince and the Princess"), and "Flight," a comic romp in which the villains
are finally routed.
Music Composed by
Sergei Prokofiev
Played by
The Philharmonia Orchestra
Conducted by
Nicolai Malko
"A good record is always a good record and this one is a very good one indeed. Originally
recorded in 1955, its quality is astonishing. The balance is excellent and the actual sound seems
hardly dated. It is bright and vivid without being artificial and the natural resonance of the halt
never clouds detail. The playing of the Philharmonia at its peak is marvellous: try the deliciously
elegant string line in the Larghetto of the Classical Symphony, or the chortling humour of both
strings and wind in the finale of the Seventh. What an attractive work the latter is in Malko's
hands, with delicacy and a warm but not cloying romanticism and wit all part of the overall
picture. The suite from The love for three oranges is no less tellingly characterized, the
"March" crisply buoyant, the romantic interlude touchingly lyrical. Highly recommended
on all counts."
Gramophone
DOWNLOAD LINK (FLAC) - https://mega.co.nz/#!CURTXAAa!VW6a1d6OSBp1sX4IOfghS2RRoV5d9JnnssYj_IK IlWY
Source: EMI Classics, 1989 (my rip!)
Format: FLAC(RAR), ADD Stereo, Level: -5
Ripping: EAC 1.0, Secure Mode
File Size: 264 MB (incl. artwork, booklet, log & cue)
Enjoy! Don't share! Buy the origina! Please leave a "Like" or "Thank you" if you enjoyed this! :)