Stravinsky Bartok Messiaen BOULEZ 2 CD Musica Viva vol 4 COL LEGNO

Live Recording

Dialogo della Musica Antiqua et della Moderna CD

CD 1 Debussy, Claude (1[zasłonięte]862-19) Le Martyre de Saint Sebastien (1911) Mystery in five acts by Gabriele D"Annunzio (sung in French) Eva Maria Rogner, soprano Jeanne Deroubaix / Marianna Radew, mezzosoprano Jean Desailly, speaker Chor des Bayerischen Rundfunks Kurt Prestel, chorusmaster Symphonieorch. des Bayer. Rundfunks Pierre Boulez, conductor 

Cd2

1 Stravinsky, Igor (1[zasłonięte]882-19) The Flood (1961-62) a musical play for choir, orchestra, tenor solo, two basses solo and four speakers (sung in English) Lorenz Fehenberger, tenor Heinz Rehfuss / Hans Gunther Nocker, bass Hans Herbert Fiedler / Fritz Wilm Wallenborn / Ingeborg Hoffmann / Alois Maria Giani, speakers Chor des Bayerischen Rundfunks Wolfgang Schubert, chorusmaster Symphonieorch. des Bayer. Rundfunks Pierre Boulez, conductor

2. Anonymous La Messe de Tournai (14th century) Hans Blumer, arr. prepared for performance: P. Boulez Munchner Chorbuben Fritz Rothschuh, chorusmaster Chor des Bayerischen Rundfunks Kurt Prestel, chorusmaster Symphonieorch. des Bayer. Rundfunks Pierre Boulez, conductor

3.  Messiaen, Olivier (1[zasłonięte]908-19) Oiseaux Exotiques (1955-56) for piano solo and small orchestra Yvonne Loriod, piano SO d. Bayer. RF Pierre Boulez, cond.

4. Bartok, Bela (1[zasłonięte]881-19) Cantata Profana: Die neun Zauberhirsche (1930) for tenor, baritone, double choir, and orchestra (sung in German) Lorenz Fehenberger, tenor Heinz Rehfuss, baritone Chor des Bayerischen Rundfunks Wolfgang Schubert, chorusmaster Symphonieorch. des Bayer. Rundfunks Pierre Boulez, conductor

The recordings were done in two concerts for German radio in 1960 and 1964

The music is mostly engaging, with or without the intellectual construct. There is a vibrant and idiomatic performance of one of Debussy's lesser-performed works. The Messiaen is on the edgy side, sometimes provoking a wish to get away from those birds, but boring it is not. Bartok's Cantata is sung in German in a well-focused reading with Boulez's usual clarity of texture. Compared with Boulez's recording of the same work 27 years later for Deutsche Grammophon this is a more brisk, austere approach--the DG recording is almost a minute longer, notable in a work which is fairly brief. Could singing the work in the original Hungarian have added that much time? But even Boulez's later recording is fleet compared to Robert Shaw's approach to the same work (no surprise there). As for the Messe de Tournai, who knows? It is the starting point of The Thesis, it is medieval, and for all that it sounds just fine. Then there is a work which was new at the time of recording: The Flood, Stravinsky's exercise in spiky serialism for chorus and narrator, with every sequence and relationship carefully delineated, sung in English with narration in German, an experience that once heard is not soon forgotten. 

możliwy szybki odbiór osobisty w Warszawie, róg Jana Pawła II i ul. Stawki
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