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Stravinsky: Complete Ballets & Symphonies / Ashkenazy, Chailly, Dutoit [7-CD Collector's Edition]


Release Date: 10/18/2011 
Label:  Decca   Catalog #: 001605302  
Composer:  Igor Stravinsky
Performer:  Anna Caterina AntonacciPietro BalloWilliam ShimellOlli Mustonen,   ... 
Conductor:  Charles DutoitVladimir AshkenazyRiccardo ChaillyBernard Haitink
Orchestra/Ensemble:  Montreal Symphony OrchestraBerlin Radio Symphony OrchestraRoyal Concertgebouw Orchestra,   ... 
Number of Discs: 7 
Recorded in: Stereo 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews

Some reviews of the original recordings that make up this set:

Apollon musagete
"Apollon musagete is of course something else again and Chailly takes the lyrical line, pointing without punching and allowing his excellent strings their head. The coda is jaunty, the “Apotheose” suitably mysterious and “Variation d’Apollon” features fine solo work from the orchestra’s leader Jaap van Zweden. Viable alternatives include a leaner, more ascetic reading under Salonen and Stravinsky’s eloquent stereo version but Chailly balances gracefulness with tonal substance and his engineers relate the whole story in glorious sound. A super disc."
-- Gramophone [1/1998]

Scènes de
Read more ballet
"Like Bernstein, Haitink has decided that Stravinksy's Scénes de ballet—his one and only encounter with Broadway—was a fitting side-show to set alongside the main attraction. And he responds eagerly to this lively, off-beat curio, Stravinsky's neo-classical ballet aspirations wilfully soured with a pinch of burlesque. I particularly like the Pas de deux with its brassily nostalgic trumpet tune: Tchaikovskian grandiosity with the common touch—a faded opulence. I can just imagine what Robert Russell Bennett might have made of the orchestrations if Billy Rose had had his way, though I doubt very much that the Berlin Philharmonic would be partaking. They do so here with great aplomb."
-- Gramophone [10/1991]

Petrushka, Pulcinella
"So many recordings came and went during the past couple of decades that it's hard to remember which ones were really good. Certainly this Petrushka stands with the best. It has everything: fabulous playing, lively tempos in the crowd scenes in the first and fourth tableaux, and best of all, a keen attention to rhythm and phrasing that makes the melodies unforgettably vivid. Check out the Russian Dance, for example, for a telling example of how careful attention to accents gives the music an unusual degree of character.

Pulcinella is almost as good--an elegant, immaculately played performance, gracious where it needs to be but once again full of rhythmic spring in the quicker sections (the tarantella and finale are particularly splendid in this respect)."
-- David Hurwitz, ClassicsToday.com

Les noces
"Consider Stravinsky's Russian phase, and the three great ballets automatically spring to mind; Les noces ("The wedding"), however, tends to take a back seat. But when Stravinsky first played Les noces to Diaghilev in 1915, the latter apparently wept and said it was Stravinsky's most beautiful and purely Russian creation. So, first of all, bravo to Decca and Ashkenazy for coupling The Rile and Les noces - the first time they have been issued together on disc.

Although the soloists in this new Les noces appear from their names to be Russian or Eastern European, do not expect the raw vocal authenticity of the Pokrovsky Ensemble (doubtless Stravinsky himself would never have expected that), or even quite the character of Anerl's participants. And don't expect the vivid immediacy and presence of those famous recordings of the past from Ancerl, Bernstein and the composer. This is an expertly balanced and decently set back concert presentation of a well-drilled ensemble performance, with subtleties of texture and dynamics (and their consequent expressive rewards) that completely pass Pokrovsky by (and to a lesser extent, Stravinsky and Anèerl). The choir's pitching of some of the semiquavers can be approximate (nothing unusual!) but their accents are especially well observed. The catalogue certainly has room for a Les noces such as this."
-- JS, Gramophone [9/1996]

Rite of Spring
"On its original 1987 release this CD bore a sticker that shouted "Sonic Boom", and anyone listening would conclude that this referred to the bass drum, which is given prominence in Decca's impressively hi-fi yet mostly natural-sounding recording. The Cleveland Orchestra delivers a Rite of Spring of exceptional virtuosity, with playing that is even more incisive than on the orchestra's previous recording led by Lorin Maazel. This most likely has to do with Maazel adopting a more romantic, interventionist approach, whereas Riccardo Chailly gives us unswerving drive and raw energy. It's a reading that occasionally gives short-shrift to Stravinsky's atmospheric touches, but boy, is it exciting."
--Victor Carr Jr, ClassicsToday.com

Complete Review:

Don’t you just hate it when an otherwise worthwhile collection is undermined by just plain label stupidity? I don’t know if there’s anyone left at Universal who even knows what they have in their own catalog. On purely musical grounds, this really is an excellent set, but it contains works that are neither symphonies nor ballets (Movements for piano and orchestra), and it does not contain the complete ballets. Danses concertantes is missing, despite the fact that Decca (never mind Universal) has several versions in its catalog, while The Fairy’s Kiss (which Universal also has complete) is represented only by the Divertimento for orchestra. The Song of the Nightingale and Capriccio for piano and orchestra are rightly included as they were staged as ballets, but then why leave out the Violin Concerto, which Balanchine choreographed as early as the 1940s?

So much for the contents. As for the performances, Dutoit’s complete Firebird is good, but it would have been better to have either Dorati’s Mercury Living Presence recording or, if more modern sound is essential, Dohnányi’s fabulous and tremendously underrated Vienna recording. The most famous ballets (Petrushka, The Rite of Spring, Apollo, Pulcinella), as well as The Song of the Nightingale and Symphony of Psalms receive superb performances by Chailly. His Cleveland Rite, in particular, is devastatingly powerful. Most of the other works, including the symphonies, Les Noces, Agon, and Orpheus, are pretty much equally well done by Vladimir Ashkenazy, and it’s good to have these underrated performances available again. Bychkov does the Divertimento, Haitink the Scènes de ballet and the Scherzo à la Russe. In short, this is an excellent set for what it is; it just isn’t quite what it claims to be!

-- David Hurwitz, ClassicsToday.com
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Works on This Recording

1.
Firebird by Igor Stravinsky
Conductor:  Charles Dutoit
Orchestra/Ensemble:  Montreal Symphony Orchestra
Period: 20th Century 
Written: Russia 
Date of Recording: 10/1984 
Venue:  Eglise de St. Eustache, Montreal 
Length: 46 Minutes 34 Secs. 
2.
Symphony in Three Movements by Igor Stravinsky
Conductor:  Vladimir Ashkenazy
Orchestra/Ensemble:  Berlin Radio Symphony Orchestra
Period: 20th Century 
Written: 1942-1945; USA 
Date of Recording: 1991 
Venue:  Jesus Christus Kirche, Berlin 
Length: 22 Minutes 12 Secs. 
3.
Symphony in C by Igor Stravinsky
Conductor:  Vladimir Ashkenazy
Orchestra/Ensemble:  Berlin Radio Symphony Orchestra
Period: 20th Century 
Written: 1939-1940; USA 
Date of Recording: 1991 
Venue:  Jesus Christus Kirche, Berlin 
Length: 27 Minutes 35 Secs. 
4.
Symphonies of Wind Instruments by Igor Stravinsky
Conductor:  Vladimir Ashkenazy
Orchestra/Ensemble:  Berlin Radio Symphony Orchestra
Period: 20th Century 
Written: 1920; France 
Date of Recording: 1991 
Venue:  Jesus Christus Kirche, Berlin 
Length: 8 Minutes 59 Secs. 
5.
Pulcinella by Igor Stravinsky
Performer:  Anna Caterina Antonacci (Soprano), Pietro Ballo (Tenor), William Shimell (Bass)
Conductor:  Riccardo Chailly
Orchestra/Ensemble:  Royal Concertgebouw Orchestra
Period: 20th Century 
Written: Switzerland 
6.
Pétrouchka by Igor Stravinsky
Conductor:  Riccardo Chailly
Orchestra/Ensemble:  Royal Concertgebouw Orchestra
Period: 20th Century 
Written: Switzerland 
7.
Capriccio for Piano and Orchestra by Igor Stravinsky
Performer:  Olli Mustonen (Piano)
Conductor:  Vladimir Ashkenazy
Orchestra/Ensemble:  Deutsches Symphonie-Orchester Berlin
Period: 20th Century 
Written: 1928-1929; France 
Date of Recording: 1992 
Venue:  Schauspielhaus, Berlin 
Length: 17 Minutes 20 Secs. 
8.
Movements for Piano and Orchestra by Igor Stravinsky
Performer:  Olli Mustonen (Piano)
Conductor:  Vladimir Ashkenazy
Orchestra/Ensemble:  Deutsches Symphonie-Orchester Berlin
Period: 20th Century 
Written: 1961; USA 
Date of Recording: 1992 
Venue:  Schauspielhaus, Berlin 
Length: 9 Minutes 37 Secs. 
9.
Scherzo à la russe by Igor Stravinsky
Conductor:  Bernard Haitink
Orchestra/Ensemble:  Berlin Philharmonic Orchestra
Period: 20th Century 
Written: 1943-1944; USA 
10.
Scènes de ballet by Igor Stravinsky
Conductor:  Bernard Haitink
Orchestra/Ensemble:  Berlin Philharmonic Orchestra
Period: 20th Century 
Written: 1944; USA 
Date of Recording: 1989 
11.
Firebird Suite by Igor Stravinsky
Conductor:  Riccardo Chailly
Orchestra/Ensemble:  Royal Concertgebouw Orchestra
Period: 20th Century 
Written: 1919/1945;   
12.
Apollon musagète by Igor Stravinsky
Conductor:  Riccardo Chailly
Orchestra/Ensemble:  Royal Concertgebouw Orchestra
Period: 20th Century 
Written: France 
13.
Scherzo fantastique, Op. 3 by Igor Stravinsky
Conductor:  Vladimir Ashkenazy
Orchestra/Ensemble:  St. Petersburg Philharmonic Orchestra
Period: 20th Century 
Written: 1907-1908; Russia 
14.
Scherzo fantastique, Op. 3 by Igor Stravinsky
Conductor:  Vladimir Ashkenazy
Orchestra/Ensemble:  St. Petersburg Philharmonic Orchestra
Period: 20th Century 
Written: 1907-1908; Russia 
Date of Recording: 11/1994 
Venue:  Philharmonic Hall, St. Petersburg 
Length: 11 Minutes 2 Secs. 
15.
Symphony no 1 in E flat major, Op. 1 by Igor Stravinsky
Conductor:  Vladimir Ashkenazy
Orchestra/Ensemble:  St. Petersburg Philharmonic Orchestra
Period: 20th Century 
Written: 1905-1907; Russia 
Date of Recording: 05/1995 
Venue:  Philharmonic Hall, St. Petersburg 
Length: 35 Minutes 5 Secs. 
16.
Fireworks, Op. 4 by Igor Stravinsky
Conductor:  Vladimir Ashkenazy
Orchestra/Ensemble:  St. Petersburg Philharmonic Orchestra
Period: 20th Century 
Written: 1908; Russia 
Date of Recording: 05/1995 
Venue:  Philharmonic Hall, St. Petersburg 
Length: 3 Minutes 42 Secs. 
17.
Les noces by Igor Stravinsky
Performer:  Galina Bojko (Soprano), L'udovit Ludha (Tenor), Margarita Maruna (Mezzo Soprano),
Egils Silins (Bass Baritone)
Conductor:  Vladimir Ashkenazy
Orchestra/Ensemble:  Deutsches Symphonie-Orchester Berlin,  Piano Circus,  Ernst Senff Chorus
Period: 20th Century 
Written: Switzerland 
18.
Orpheus by Igor Stravinsky
Conductor:  Vladimir Ashkenazy
Orchestra/Ensemble:  Deutsches Symphonie-Orchester Berlin
Period: 20th Century 
Written: 1947; USA 
19.
Jeu de cartes by Igor Stravinsky
Conductor:  Vladimir Ashkenazy
Orchestra/Ensemble:  Deutsches Symphonie-Orchester Berlin
Period: 20th Century 
Written: 1937; France 
20.
Agon by Igor Stravinsky
Conductor:  Vladimir Ashkenazy
Orchestra/Ensemble:  Deutsches Symphonie-Orchester Berlin
Period: 20th Century 
Written: 1957; USA 
21.
Le sacre du printemps by Igor Stravinsky
Conductor:  Riccardo Chailly
Orchestra/Ensemble:  Cleveland Orchestra
Period: 20th Century 
Written: 1911-1913 
Date of Recording: 11/1985 
Venue:  Masonic Auditorium, Cleveland, Ohio 
Length: 32 Minutes 46 Secs. 

Sound Samples

The Firebird (L'oiseau de feu) - Ballet (1910): Introduction
The Firebird (L'oiseau de feu) - Ballet (1910): Kashchei's enchanted garden
The Firebird (L'oiseau de feu) - Ballet (1910): Appearance of the Firebird pursued by Ivan Tsarevich
The Firebird (L'oiseau de feu) - Ballet (1910): Dance of the Firebird
The Firebird (L'oiseau de feu) - Ballet (1910): Ivan Tsarevich captures the Firebird
The Firebird (L'oiseau de feu) - Ballet (1910): Supplication of the Firebird
The Firebird (L'oiseau de feu) - Ballet (1910): Game of the Princesses with the golden apples
The Firebird (L'oiseau de feu) - Ballet (1910): Sudden appearance of Ivan Tsarevich
The Firebird (L'oiseau de feu) - Ballet (1910): Round dance of the Princesses
The Firebird (L'oiseau de feu) - Ballet (1910): Daybreak
The Firebird (L'oiseau de feu) - Ballet (1910): Magic carillon, appearance of Kashchei's guardian monsters and capture of Ivan Tsarevich
The Firebird (L'oiseau de feu) - Ballet (1910): Dance of Kashchei's retinue under the spell of the Firebird
The Firebird (L'oiseau de feu) - Ballet (1910): Infernal dance of all Kashchei's subject's
The Firebird (L'oiseau de feu) - Ballet (1910): Lullaby of the Firebird
The Firebird (L'oiseau de feu) - Ballet (1910): Collapse of Kashchei's palace and dissolution of all enchantments - Reanimation of the petrified prisoners - General rejoicing
Les Noces - Première Partie: Premier tableau: "La Tresse"
Les Noces - Première Partie: Deuxième tableau: Chez le Marié
Les Noces - Première Partie: Troisième tableau: Le départ de la Mariée
Les Noces - Deuxième Partie: Quatrième tableau: Le repas de noces
Movements for Piano & Orchestra: 1. I
Movements for Piano & Orchestra: 2. II
Movements for Piano & Orchestra: 3. III
Movements for Piano & Orchestra: 4. IV
Movements for Piano & Orchestra: 5. V
Petrouchka - Version 1947 - Scene 1: The Shrovetide Fair - The Crowds - The Conjuring-trick
Petrouchka - Version 1947 - Scene 1: Russian Dance
Petrouchka - Version 1947 - Scene 2: Petrouchka's Room
Petrouchka - Version 1947 - Scene 3: The Moor's Room - Dance of the Ballerina
Petrouchka - Version 1947 - Scene 3: Waltz (The Ballerina and the Moor)
Petrouchka - Version 1947 - Scene 4: The Shrovetide Fair (Evening)
Petrouchka - Version 1947 - Scene 4: Dance of the Wet-nurses
Petrouchka - Version 1947 - Scene 4: Dance of the Peasant and the Bear
Petrouchka - Version 1947 - Scene 4: The Merchant and the Gipsies
Petrouchka - Version 1947 - Scene 4: Dance of the Coachmen and the Grooms
Petrouchka - Version 1947 - Scene 4: The Masqueraders
Petrouchka - Version 1947 - Scene 4: The Scuffle
Petrouchka - Version 1947 - Scene 4: Death of Petrouchka
Petrouchka - Version 1947 - Scene 4: The Police and the Charlatan
Petrouchka - Version 1947 - Scene 4: Apparition of Petrouchka's Ghost
Le Sacre du Printemps - Revised version for Orchestra (published 1947) - Part 1: The Adoration of the Earth: Introduction
Le Sacre du Printemps - Revised version for Orchestra (published 1947) - Part 1: The Adoration of the Earth: The Augurs Of Spring: Dances Of The Young Girls
Le Sacre du Printemps - Revised version for Orchestra (published 1947) - Part 1: The Adoration of the Earth: Ritual Of Abduction
Le Sacre du Printemps - Revised version for Orchestra (published 1947) - Part 1: The Adoration of the Earth: Spring Rounds
Le Sacre du Printemps - Revised version for Orchestra (published 1947) - Part 1: The Adoration of the Earth: Ritual Of The Rival Tribes
Le Sacre du Printemps - Revised version for Orchestra (published 1947) - Part 1: The Adoration of the Earth: Procession of the Sage
Le Sacre du Printemps - Revised version for Orchestra (published 1947) - Part 1: The Adoration of the Earth: Dance Of The Earth
Le Sacre du Printemps - Revised version for Orchestra (published 1947) - Part 2: The Sacrifice: Introduction
Le Sacre du Printemps - Revised version for Orchestra (published 1947) - Part 2: The Sacrifice: Mystic Circles Of The Young Girls
Le Sacre du Printemps - Revised version for Orchestra (published 1947) - Part 2: The Sacrifice: Glorification Of The Chosen One
Le Sacre du Printemps - Revised version for Orchestra (published 1947) - Part 2: The Sacrifice: Evocation Of The Ancestors
Le Sacre du Printemps - Revised version for Orchestra (published 1947) - Part 2: The Sacrifice: Ritual Action Of The Ancestors
Le Sacre du Printemps - Revised version for Orchestra (published 1947) - Part 2: The Sacrifice: Sacrificial Dance (The Chosen One)

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