Classical Music : Igor Stravinsky: The Recorded Legacy

Igor Stravinsky: The Recorded Legacy

  1. Ballets Vol.I: The Firebird: Intro - Columbia SO/Igor Stravinsky
  2. Ballets Vol.I: The Firebird: Scene 1: Kashchei s Enchanted Garden - Columbia SO/Igor Stravinsky
  3. Ballets Vol.I: The Firebird: Scene 1: The Firebird Appears, Pursued By Ivan Tsarevitch - Columbia SO/Igor Stravinsky
  4. Ballets Vol.I: The Firebird: Scene 1: Dance Of The Firebird - Columbia SO/Igor Stravinsky
  5. Ballets Vol.I: The Firebird: Scene 1: Ivan Tsarevitch Captures The Firebird - Columbia SO/Igor Stravinsky
  6. Ballets Vol.I: The Firebird: Scene 1: The Firebird s Entreaty - Columbia SO/Igor Stravinsky
  7. Ballets Vol.I: The Firebird: Scene 1: The Appearance Of The Thirteen Enchanted Princesses - Columbia SO/Igor Stravinsky
  8. Ballets Vol.I: The Firebird: Scene 1: The Princesses Game With Apples Of Gold (Scherzo) - Columbia SO/Igor Stravinsky
  9. Ballets Vol.I: The Firebird: Scene 1: The Sudden Appearance Of Ivan Tsarevitch - Columbia SO/Igor Stravinsky
  10. Ballets Vol.I: The Firebird: Scene 1: The Princesses Round - Columbia SO/Igor Stravinsky
  11. Ballets Vol.I: The Firebird: Scene 1: Dawn (Ivan Tsarevitch Enters Kashchei s Palace) - Columbia SO/Igor Stravinsky
  12. Ballets Vol.I: The Firebird: Scene 1: The Sound Of Enchanted Bells, Monsters Appear, Kashchei s... - Columbia SO/Igor Stravinsky
  13. Ballets Vol.I: The Firebird: Scene 1: The Arrival Of Kashchei The Immortal - Columbia SO/Igor Stravinsky
  14. Ballets Vol.I: The Firebird: Scene 1: Kashchei s Dialogue With Ivan Tsarevitch - Columbia SO/Igor Stravinsky
  15. Ballets Vol.I: The Firebird: Scene 1: The Princesses Intercede - Columbia SO/Igor Stravinsky
  16. Ballets Vol.I: The Firebird: Scene 1: The Appearance Of The Firebird - Columbia SO/Igor Stravinsky
  17. Ballets Vol.I: The Firebird: Scene 1: Kashchei s Followers Dance Under The Firebird s Spell - Columbia SO/Igor Stravinsky
  18. Ballets Vol.I: The Firebird: Scene 1: Infernal Dance Of Kashchei s Subjects - Columbia SO/Igor Stravinsky
  19. Ballets Vol.I: The Firebird: Scene 1: Lullaby (The Firebird) - Columbia SO/Igor Stravinsky
  20. Ballets Vol.I: The Firebird: Scene 1: Kashchei Awakes - Columbia SO/Igor Stravinsky
  21. Ballets Vol.I: The Firebird: Scene 1: Death Of Kashchei-Profound Darkness - Columbia SO/Igor Stravinsky
  22. Ballets Vol.I: The Firebird: Scene 2: Kashchei s Spells Are Broken, His Palace Disappears, The... - Columbia SO/Igor Stravinsky
  23. Ballets Vol.I: Scherzo A La Russe - Columbia SO/Igor Stravinsky
  24. Ballets Vol.I: Scherzo Fantastique - CBC SO/Igor Stravinsky
  25. Ballets Vol.I: Fireworks - Columbia SO/Igor Stravinsky

Stravinsky dominates 20th century music as Beethoven did in the 19th. No other composer of our time was so completely at home in so many forms and styles, no other knew so well how to adapt sounds from the past--medieval, baroque, classical and even, near the end of his career, 12-tone, to suit his own purposes. A brilliantly original creator, he also plundered the music of other composers such as Gesualdo, Pergolesi, and Tchaikovsky--even Happy Birthday to You in his hilarious Greeting Prelude. But he made this music his own and transformed it into something new and splendid. He has fared well (though he often complained) in the hands of other conductors, but his own interpretations often give unique insights. He was the first composer to have his work substantially preserved (more than 60 pieces) in recordings made under his own supervision (Britten did nearly as well, Milhaud, Poulenc, Shostakovich, and a few others have left small samples). This collection, with an informative, well-illustrated booklet, is monumental, a legacy to posterity of incalculable value. --Joe McLellan

The ultimate collection - This box set, sometimes referred to as a lunchbox is mostlikely out of print, considering the 22 CD s it comprisesand the price tag.Nevertheless, any classical music fan will want to own thisitem, despite the sales price of over $350 USD. On the one side, you have the classic, big-name numbers thatare sterotypical of Stravinsky, in the minds of the public,such as Firebird, Petrushka, Rite of Spring, etc. Obviously,being this a COMPLETE edition of ALL of the composer s careerworks, they had to be performed, recorded and conducted bythe composer too. However, they ve been performed, recordeda lot better elsewhere, no doubt.So, the real focus and attraction of this box edition, isthat it presents a huge amount of previously unavailable,hard to find, overpriced, unrecorded, underappreciated compositions in a one-stop-shop release, the current one.Some highlights, I feel, is THE RAKE, as well as AGON,BLUEBIRD, and many others.The recording is impeccable, and considering that the authorwas focusing on the underrepresented repertoire in his recordedlegacy, those are especially well presented, performed and conducted.Therefore, for the above reasons, and also the fact thatthere s so much to choose from - a new opus every day ofthe month is possible, almost - it s a can t miss proposition.If it s still available on the retail market, that is.

A Treasure Trove - You will never find the majority of these works better played than here. A few minor quibbles though. The set is not absolutely complete as the Fanfare for Two Trumpets and Stravinsky s arr. of The Star-Spangled Banner are missing. They where recorded by Columbia during this period and issued on LP. More serious is that the first note is missing from the sixth of the 8 Instrumental Miniatures. Also I think Sony could have included Robert Craft s performance of Les Noces as it outshines Stravinsky s. Using the original Russian language, as Craft does (the composer s is in English) does give it an extra edge. And why has the producer chosen to place the orchestral Ode on the Oratorio - Melodrama album, between Perséphone and Monumentum pro Gesualdo...Otherwise all is fine and one can only admire the composer s way with the music. The rhythms are knife-sharp, the melodies phrased con amore and you will find none of the sluggishness that that many conductors seem to prefer. A gold-mine indeed!

Magnificent Achievement - Having been immersed in the study of Stravinsky at university, I have developed a new appreciation and love for this music and the man who composed it. To single out any one work or performance as the finest would be impossible, although certain pieces will need to be taken with a dose of salt as Stravinsky covers more than one style. My own personal favourite is the D major Violin Concerto at the end of the concerto disc- a brilliant piece of music brilliantly performed. If I had to point out what is not good about this album, it is really more a criticism of Stravinsky s work- the Cantata is probably the dullest thing he ever wrote (even he admitted not to liking it that much). Nonetheless, this IS his complete music, completely recorded under his watchful gaze. What a magnificent achievement- and how well preserved and mastered by Sony!

Truly historical - This truly historical edition once and for all puts to rest the old putdown that Strawinsky could not conduct. In fact many of the works in this box have never sounded beter, and this includes works like Petrushka, Apollon and La baiser de la Fee. For seeing the real and strong continuity in Strawinskys often chameleontic carreer, there is nothing like listening to these CD s again and again. After some time the differences fade into the background and it becomes clear what all these works have in common: a search for the essence of the European classical tradition. It also becomes clear why the Russians consider Strawinsky not really one of their own. But most of all, this is music by one of the really great composers and recorded by himself.



Igor Stravinsky: The Recorded Legacy