IGOR STRAVINSKY L’Oiseau de Feu
Flemish Radio Orchestra Yoël Levi
GCDSA 922201
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Performing artists
Flemish Radio OrchestraYoël Levi, conductor
Production details
Playing time: 71’02 Recorded at Studio 4, Flagey, Brussels, on 11-15 July, 2005 Engineered, produced and mastered by Manuel Mohino Assistant engineer: Grégory Beaufays Executive producer: Carlos Céster Editorial assistant: María Díaz Cover design & illustrations: oficina tresminutos 00:03:00 Booklet essay: Stefano Russomanno Booklet in English-Français-Nederlands-Español-Deutsch
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Commercial release sheet (PDF)
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IGOR STRAVINSKY (1882-1971)
L’Oiseau de Feu Conte dansé en deux tableaux(version 1910)
1 Introduction 2 Le jardin enchanté de Kachtcheï 3 Apparition de l’Oiseau de feu poursuivi par Ivan Tsarévich 4 Danse de l’Oiseau de feu 5 Capture de l’Oiseau de feu par Ivan Tsarévich 6 Supplications de l’Oiseau de feu 7 Apparition des treize princesses enchantées 8 Jeu des princesses avec les pommes d’or 9 Brusque apparition d’Ivan Tsarévich 10 Corovod (Rondeau) des princesses 11 Lever du jour 12 Ivan Tsarévich pénètre dans le palais de Kachtcheï 13 Carillon féerique, apparition des monstres-gardiens de Kachtcheï, capture d’Ivan Tsarévich, intercession des princesses 14 Arrivée de Kachtcheï l’immortel 15 Dialogue de Kachtcheï avec Ivan Tsarévich 16 Intercession des princesses 17 Apparition de l’Oiseau de feu 18 Danse de la suite de Kachtcheï enchantée par l’Oiseau de feu 19 Danse infernale de tous les sujets de Kachtcheï 20 Berceuse (l’Oiseau de feu) 21 Réveil de Kachtcheï 22 Mort de Kachtcheï 23 Profonds ténèbres 24 Disparition du palais et des sortilèges de Kachtcheï, animationdes chevaliers pétrifiés, allégresse générale
Chant du Rossignol Poème symphonique pour orchestre(1917)
25 Presto 26 Marche chinoise 27 Chant du Rossignol 28 Chant du Rossignol mécanique 29 Larghetto 30 Pianissimo 31 Tranquillo
About this CD
Glossa, primarily known for its outstanding early music productions, now presents two new releases and a new partnership with the Flemish Radio Orchestra (VRO) and Choir (VRK): two superb ensembles focusing primarily on repertoires from the 20th and 21st centuries.Technically speaking, this series also introduces Glossa’s first hybrid SACDs for high-end audio fans. This top-quality surround audio approach makes the listening experience even more rich and pleasurable – an exquisitely balanced symphony orchestra and an elite contemporary chamber choir are certainly two examples where the extra production costs make sense.The Flemish Radio Orchestra’s chief conductor is Yoel Levi, who worked for many years with the Atlanta Symphony Orchestra. This new relationship will also involve frequent collaboration with guest conductors such as Gerd Albrecht, Hervé Niquet and others. In the past few years, strong relationships have been built with the film industry and with film composers such as Maurice Jarre, Howard Shore, Danny Elfman, Ennio Morricone, Michel Legrand and John Debney. The debut recording of the new series comprises Igor Stravinsky’s Firebird (complete 1910 version) and Chant du Rossignol, and was produced with the firm intention of putting benchmark interpretations on the market. For more than 70 minutes, the wide dynamic range, infinite timbrical nuances and expressive depth of Stravinsky’s orchestral music are explored and provide a deeply enriching listening experience.And, last but not least, the breathtaking beauty of the work of Glossa’s designer, Valentín Iglesias and his 00:03:00 office, merits mention. It provides the perfect visual basis for this new adventure with two of Europe’s most exquisite and forward-looking ensembles.
Elgar on Glossa? And why not, when it brings together one of the UK’s leading conducting talents in Romantic music, Martyn Brabbins with the committed advocacy of an orchestra rising superbly to the technical challenges of the First Symphony with both spontaneity and energy: the Flemish Radio Orchestra, who here make there second appearance on the label. Brabbins is an ideal director to be at the helm of a work that sits comfortably in the Late Romantic European tradition of orchestral music and for marshalling the forces which can shed new light on a work from outside the grand performing practice of the British orchestras. In this 150th anniversary year of Edward Elgar’s birth it is surely right – as well as artistically exciting – to hear how musicians from outside the UK approach one of the masterpieces of the composer, the son of a piano-tuner and born in the village of Broadheath outside Worcester in England. Indeed, Colin Anderson’s perceptive booklet article has more to say on the positioning of Elgar in the general scheme of European musical history. To accompany the First Symphony conductor and orchestra have added an engaging rendition of the Prelude to The Kingdom, Elgar’s oratorio, completed in 1906, two years before he finished his First Symphony; both mature statements from Britain’s finest.[read more...]