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bissacd1850
Wydawnictwo: Bis
Nr katalogowy: BISSACD 1850
Nośnik: 1 SACD
Data wydania: styczeń 2015
EAN: 7318599918501
55,00zł
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Nasze kategorie wyszukiwania

Epoka muzyczna: romantyzm
Obszar (język): francuski
Rodzaj: balet

SACDHybrydowy format płyty umożliwia odtwarzanie w napędach CD!

Ravel: Daphnis et Chloé

Bis - BISSACD 1850
Wykonawcy
Netherlands Radio Choir
Rotterdam Philharmonic Orchestra / Yannick Nézet-Séguin
Nagrody i rekomendacje
 
ICMA Award Nomination Joker Crescendo Diapason 5 SA-CD.net 5 Stars BBC Music Choice Pizzicato 5
 
Daphnis et Chloé
Pavane pour une infante défunte
When Maurice Ravel in 1909 was commissioned by the ballet impresario Serge Diaghilev to write a score based on the ancient Greek novel Daphnis and Chloe, he decided to compose 'a huge musical fresco, concerned less with archaism than with faithfulness to the Greece of my dreams'. Three years later, when Daphnis et Chloé was first performed by the Ballets Russes , it had indeed grown into Ravel’s longest work, playing for about an hour and requiring a large orchestra with an extended percussion section, not to mention a choir. The first production was fraught with difficulties and the premiere in Paris was less than successful. It was only the following year, in London, that the composer received proper recognition for his music, which Stravinsky later described as 'not only Ravel’s best work, but one of the most beautiful products of all French music'. Ravel himself labelled it a ‘choreographic symphony’, and although he did extract two suites from it, the complete ballet score has also entered the concert repertoire. It is here performed by the Rotterdam Philharmonic Orchestra and Yannick Nézet-Séguin , a team with the best possible credentials for realizing the full spectrum of this sumptuous music – from the idyllic evocation of dawn in Lever du jour to the orgiastic Danse générale which closes the work. If Daphnis et Chloé is one of Ravel’s most highly regarded works, his Pavane pour une infante défunte is one of the most popular. The brief piano piece from 1899 was orchestrated by the composer in 1910, while he was working on Daphnis . Its profound melancholy has caught the imagination of listeners ever since, in combination with the poetic title – which was only chosen because of its agreeable sound, however: Ravel never had a particular dead princess in mind, and finding many interpretations too sluggish, famously remarked that the piece was not, after all, ‘a dead pavane for an infanta’.

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