wimpel69
11-29-2014, 04:52 PM
EAC-FLAC link below. This is my own rip.
Do not share further. Buy the original! Please [u]add[u] to my reputation if you enjoyed this!
The Ugly Duckling (Danish: Den grimme �lling) is a literary fairy tale by Danish poet and author
Hans Christian Andersen (1805 � 1875). The story tells of a homely little bird born in a barnyard who suffers
abuse from the others around him until, much to his delight (and to the surprise of others), he matures into
a beautiful swan, the most beautiful bird of all. The story is beloved around the world as a tale about
personal transformation for the better. The tale has seen various musical adaptations. In 1914, the
Russian composer Sergei Prokofiev composed a work for voice and piano based on Nina Meshcherskaya's
adaptation of the tale and, in 1932, arranged the work for voice and orchestra.
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.
Autumn: Symphonic Sketch is a student work, and while it shows some traits we associate
with the composer's mature style, it owes a large debt to Rachmaninov. Still, this piece
is compelling in its effective depiction of sinister serenity and in its sense of unfolding drama
in the outer sections. True, the middle section features a theme and orchestration that
Rachmaninov might almost have written at the time. Perhaps the most effective aspect of
this composition is its subtle contrast between the two thematic subjects: the first recalls
the mood of the opening of Rachmaninov's Isle of the Dead (1909), then a new piece in
Russia. The alternate theme is lush and ethereal, yearning for some passionate release.
The features most characteristic of Prokofiev himself are the eerie string writing, where
the music seems to slither about creepily in transitional sections, and the dark woodwind
motives that augur Bernard Herrmann's music in several of Alfred Hitchcock's suspense
films. In the end, this must be assessed as one of the composer's stronger early efforts,
despite its somewhat derivative nature.
Music Composed by
Sergei Prokofiev
Played by the
Scottish Chamber Orchestra
With
Carole Farley (soprano)
Conducted by
Jos� Serebrier
"Youth�in some shape or form�is the common denominator here. In Winter bonfire an
ageing and ailing Prokofiev casts his mind back: this is 1949, and once more he is out of
favour with the state. Indeed, I imagine that there were those who regarded Winter
bonfire as a thinly disguised peace offering, a propaganda gesture, a small act of contrition.
For this slight but engaging symphonic suite takes its cue from verses by the poet Samuil
Marshak chronicling a day-trip to the country for young, well-scrubbed Soviet 'pioneers'�
the heroic work-force of tomorrow. Robust horn calls set the steam-train in motion�a
characteristically bracing ostinato and a catchy open-air tune redolent of the trio from
the Fifth Symphony scherzo. Other delights follow, other lovable tunes, a classic
Prokofiev waltz (this one for skaters), the obligatory march, and even a jolly chorus
of approval from the youngsters. It's an occasional piece, a charming one, and a rare
one�which in itself will be something of a commendation to investigate.
Rare too is the Summer day suite�orchestrations of piano pieces from Prokofiev's
Music for Children (1936). Again, carefree charm rules. The scoring is elegant, balletic,
touched with that inimitable once-upon-a-time fantasy: ''Morning'', with its distinctive
groundswells, shivering silvery strings and a top line of singing woodwinds, is typical;
there's another sensuous waltz, another piquant march, each characterfully etched by
a resourceful Scottish Chamber Orchestra confidently directed by Jose Serebrier. They
rise moodily to Autumnal sketch which surfaces again here, bleak clarinets stealing
furtively into dark, voluptuous texturing. A premature case of terminal melancholy:
Prokofiev was still a student at the time. In the opening bars, it's almost as if the
Rachmaninov of Isle of the Dead has crept up on him unawares."
Gramophone
> Download Link (https://mega.nz/#!aJ0k3bja!_d4U7-bVhgwpRH2NV1_Tkgg5z9PUHK2GoezAgtVtRGY) <
Source: ASV Classics CD, 1991 (my rip!)
Format: FLAC(RAR), DDD Stereo, Level: -5
File Size: 304 MB
Enjoy! Don't share! Buy the origina! Please leave a "Like" or "Thank you" if you enjoyed this! :)
Do not share further. Buy the original! Please [u]add[u] to my reputation if you enjoyed this!
The Ugly Duckling (Danish: Den grimme �lling) is a literary fairy tale by Danish poet and author
Hans Christian Andersen (1805 � 1875). The story tells of a homely little bird born in a barnyard who suffers
abuse from the others around him until, much to his delight (and to the surprise of others), he matures into
a beautiful swan, the most beautiful bird of all. The story is beloved around the world as a tale about
personal transformation for the better. The tale has seen various musical adaptations. In 1914, the
Russian composer Sergei Prokofiev composed a work for voice and piano based on Nina Meshcherskaya's
adaptation of the tale and, in 1932, arranged the work for voice and orchestra.
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.
Autumn: Symphonic Sketch is a student work, and while it shows some traits we associate
with the composer's mature style, it owes a large debt to Rachmaninov. Still, this piece
is compelling in its effective depiction of sinister serenity and in its sense of unfolding drama
in the outer sections. True, the middle section features a theme and orchestration that
Rachmaninov might almost have written at the time. Perhaps the most effective aspect of
this composition is its subtle contrast between the two thematic subjects: the first recalls
the mood of the opening of Rachmaninov's Isle of the Dead (1909), then a new piece in
Russia. The alternate theme is lush and ethereal, yearning for some passionate release.
The features most characteristic of Prokofiev himself are the eerie string writing, where
the music seems to slither about creepily in transitional sections, and the dark woodwind
motives that augur Bernard Herrmann's music in several of Alfred Hitchcock's suspense
films. In the end, this must be assessed as one of the composer's stronger early efforts,
despite its somewhat derivative nature.
Music Composed by
Sergei Prokofiev
Played by the
Scottish Chamber Orchestra
With
Carole Farley (soprano)
Conducted by
Jos� Serebrier
"Youth�in some shape or form�is the common denominator here. In Winter bonfire an
ageing and ailing Prokofiev casts his mind back: this is 1949, and once more he is out of
favour with the state. Indeed, I imagine that there were those who regarded Winter
bonfire as a thinly disguised peace offering, a propaganda gesture, a small act of contrition.
For this slight but engaging symphonic suite takes its cue from verses by the poet Samuil
Marshak chronicling a day-trip to the country for young, well-scrubbed Soviet 'pioneers'�
the heroic work-force of tomorrow. Robust horn calls set the steam-train in motion�a
characteristically bracing ostinato and a catchy open-air tune redolent of the trio from
the Fifth Symphony scherzo. Other delights follow, other lovable tunes, a classic
Prokofiev waltz (this one for skaters), the obligatory march, and even a jolly chorus
of approval from the youngsters. It's an occasional piece, a charming one, and a rare
one�which in itself will be something of a commendation to investigate.
Rare too is the Summer day suite�orchestrations of piano pieces from Prokofiev's
Music for Children (1936). Again, carefree charm rules. The scoring is elegant, balletic,
touched with that inimitable once-upon-a-time fantasy: ''Morning'', with its distinctive
groundswells, shivering silvery strings and a top line of singing woodwinds, is typical;
there's another sensuous waltz, another piquant march, each characterfully etched by
a resourceful Scottish Chamber Orchestra confidently directed by Jose Serebrier. They
rise moodily to Autumnal sketch which surfaces again here, bleak clarinets stealing
furtively into dark, voluptuous texturing. A premature case of terminal melancholy:
Prokofiev was still a student at the time. In the opening bars, it's almost as if the
Rachmaninov of Isle of the Dead has crept up on him unawares."
Gramophone
> Download Link (https://mega.nz/#!aJ0k3bja!_d4U7-bVhgwpRH2NV1_Tkgg5z9PUHK2GoezAgtVtRGY) <
Source: ASV Classics CD, 1991 (my rip!)
Format: FLAC(RAR), DDD Stereo, Level: -5
File Size: 304 MB
Enjoy! Don't share! Buy the origina! Please leave a "Like" or "Thank you" if you enjoyed this! :)