#pierre monteux

[senfonikankara]

Elgar | Enigma Çeşitlemeleri, Tema & çeş.1

[beardedmrbean]

Philip Glass is one of the few avant garde artists appreciate outside of high art and academic circles.  Instead of having the 'it's not supposed to be understood' trope usually associate with the style, he welcomes people and guides them to live in the moment.

Submitted by @eggs-n-ham-sam

Walt Disney's original plan for Fantasia was that every few years or so it would get re-released with some sequences removed and replaced with new pieces and sequences, war got in the way and priorities shifted but the man still wanted to try it because he was a big fan of innovation.

Kind of odd how it was born out of an initial attempt to cover up that the cost for the Mickey Mouse "short" they were producing was now upside down in terms of cost to income, but there it was.

One of the pieces in it is Stravinsky’s ‘The Rite of Spring’ Stokowski was a wonderful choice as a director Philly Orchestra incredible, I do imaging Stokowski was the deciding factor though.

Music nerd moment, when Stravinsky introduced The Rite of Spring for the first time, there was a riot music was that charged, that and I love this bit

Contrary to popular belief it was not just the shock of hearing the music and the choreography that caused the riot at The Rite of Spring’s premiere. At that time a typical Parisian ballet audience consisted of two diverse groups: the wealthy and fashionable set, who would be expecting to see a traditional performance with beautiful music, and a ‘Bohemian’ group who were eager for something new. Conductor Pierre Monteux believed that the trouble began when these two groups, the pro and con factions, began attacking each other, and the orchestra. He recalled, “Everything available was tossed in our direction, but we continued to play on.”

Quite literally something you'd see in a cartoon. Seen some performances of parts of 'Rite of Spring' wild stuff.

Circling back around, Disney picked that one I think in part because the nature of the piece even 27 years after premier it was still something that could have qualified as what we would run in with the avant garde of it's day, something that's totally different and forces you to look at things in a different way.

This is a very long winded way to get to the point that I think had Walt managed to stay alive for another 80 years and fulfilled his dream of adding new sequences to it this kind of thing would have made it in there, quite possibly as is with that video or a new piece commissioned for the production.

Would have been double interesting if the viewings of the production could have gone the way Walt wanted too, not possible from a economic standpoint thou. People prancing up and down the aisles sprinkling water or flower petals and all that good stuff.

Would have been cool af tho

I know this is long and rambling. I'm all home by myself right now and I had a story to get out and didn't what it was till I got your ask and realized this was a direction I could go.

normal audience is gone so you guys get it.

Hope someone finds it interesting at least.

[sheetmusiclibrarypdf]

Igor Stravinsky (1882-1971)

Igor Stravinsky (1882-1971)Three Movements from Petrushka: The Shrovetide FairThree Movements from Petrushka: The Shrovetide Fair ·Arthur Rubinstein, piano · Igor StravinskyNew Highlights from "Rubinstein at Carnegie Hall" - Recorded During the Historic 10 Recitals of 1961Please, subscribe to our Library. Thank you!Best Sheet Music download from our Library.Igor Stravinsky's PetrushkaIgor Stravinsky (short bio)

Igor Stravinsky (1882-1971)

Three Movements from Petrushka: The Shrovetide Fair

https://www.youtube.com/watch?v=cSSWuIfb0LU Three Movements from Petrushka: The Shrovetide Fair · Arthur Rubinstein, piano · Igor Stravinsky New Highlights from "Rubinstein at Carnegie Hall" - Recorded During the Historic 10 Recitals of 1961

Igor Stravinsky's Petrushka

Petrushka (French: Pétrouchka; Russian: Петрушка) is a ballet and orchestral concert work by Russian composer Igor Stravinsky. It was written for the 1911 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Michel Fokine and stage designs and costumes by Alexandre Benois, who assisted Stravinsky with the libretto. The ballet premiered at the Théâtre du Châtelet on 13 June 1911 with Vaslav Nijinsky as Petrushka, Tamara Karsavina as the lead ballerina, Alexander Orlov as the Moor, and Enrico Cecchetti the charlatan. Petrushka tells the story of the loves and jealousies of three puppets. The three are brought to life by the Charlatan during the 1830 Shrovetide Fair (Maslenitsa) in Saint Petersburg, Russia. Petrushka loves the Ballerina, but she rejects him. She prefers the Moor. Petrushka is angry and hurt, and challenges the Moor. The Moor kills him with his scimitar. Petrushka's ghost rises above the puppet theatre as night falls. He shakes his fist at the Charlatan, then collapses in a second death. The gestation of Petrushka was not a straightforward matter. While completing The Firebird during the spring of 1910, Stravinsky had a "vision" of a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of The Rite of Spring. Immediately following the stunning success of The Firebird in June 1910, Diaghilev approached Stravinsky about a new ballet; the composer proposed the Rite theme. Diaghilev accepted in principle and suggested that the premiere might take place during the Paris season of the Ballets Russes during the spring of 1912. At the end of September 1910, Diaghilev went to visit Stravinsky in Clarens, Switzerland, where he was living at the time. Expecting to discuss the new ballet, Diaghilev was astonished to find Stravinsky hard at work on a totally different project. Stravinsky, it seems, had had another vision: "I saw a man in evening dress, with long hair, the musician or poet of the romantic tradition. He placed several heteroclite objects on the keyboard and rolled them up and down. At this the orchestra exploded with the most vehement protestations – hammer blows, in fact …" Later, Stravinsky wrote: "n composing the music, I had in my mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios. The orchestra in turn retaliates with menacing trumpet blasts." Although Stravinsky had conceived the music as a pure concert work—a Konzertstück, Diaghilev immediately realized its theatrical potential. The notion of a puppet put Diaghilev in mind of Petrushka, the Russian version of Punch and Judy puppetry that had formed a traditional part of the pre-Lenten Carnival festivities in 1830s St. Petersburg. Stravinsky composed the music during the winter of 1910–11 for Diaghilev's Ballets Russes. It was premièred in Paris at the Théâtre du Châtelet on 13 June 1911 under conductor Pierre Monteux, with choreography by Michel Fokine and sets by Alexandre Benois. The title role was danced by Vaslav Nijinsky. The work is characterized by the so-called Petrushka chord (consisting of C major and F♯ major triads played together), a bitonality device heralding the appearance of the main character. The original 1911 version of Petrushka is scored for the following orchestra. Stravinsky's 1946 scoring is for a smaller orchestra: Compared to the 1911 version, the 1946 version (given in 1947) requires 1 less flute; 2 fewer oboes, but a dedicated cor anglais player instead of one doubled by the fourth oboe; 1 less clarinet; 2 fewer bassoons, but a dedicated contrabassoon; neither of the 2 cornets, but an additional trumpet; 1 less snare drum and no tenor drum, thus removing the offstage instruments; no glockenspiel; and 1 less harp. While the original idea was Stravinsky's, Alexandre Benois provided the ethnographic details of the Shrovetide Fair and the traditions of the Russian puppet theater. And although Petrushka is frequently cited as an example of the complete integration of libretto, music, choreography, and scenic design, Stravinsky had composed significant portions of the music (chiefly the Second Tableau) before Benois became involved with the project. Petrushka begins with a festive orchestral introduction based, in part, on historical Russian street-hawkers' cries. The curtain rises to reveal St. Petersburg's Admiralty Square during the 1830s. The stage set (also by Benois) depicts several hucksters' booths, a ferris-wheel, a carousel, and (upstage center) a puppet theater. A crowd has gathered for the Shrovetide Fair (known as Maslenitsa), the carnival (analogous to Mardi Gras) preceding Lent. In Fokine's original choreography, a group of Drunken Revelers emerges from the crowd, dancing to Stravinsky's adaptation of the folk-tune "Song of the Volochobniki" ("Dalalin' Dalalin'" from Rimsky-Korsakov Op. 24 No. 47). Suddenly, the festive music is interrupted by strident brass announcing the appearance of the Master of Ceremonies on the balcony of his booth. The equivalent of a carnival "barker", he boasts of the attractions to be seen within. The squeaks of a street-organ are heard (clarinets and flutes) as an Organ-Grinder and Dancing Girl emerge from the crowd, which at first pays little attention as the barker continues to shout. The Dancer moves downstage and begins to dance to another Russian folk-song, "Toward Evening, in Rainy Autumn", while playing the triangle. At the other end of the stage, a second Dancing Girl appears, accompanied by a music box (suggested in the orchestra by the celesta). The two Dancing Girls compete for the crowd's attention to the strains of a ribald French music-hall song about a woman with a wooden leg: "Une Jambe de bois". Both tunes are repeated. The Drunken Revelers return (again to the "Song of the Volochobniki") interrupted several times by the Barker's boasts. The street-hawkers' cries of the very opening are heard once more. Suddenly, two drummers summon the crowd to the puppet theater with deafening drumrolls. The Magician (sometimes called the "Charlatan") appears to mystical groans from the bassoon and contrabassoon. When he has everyone's attention, he produces a flute and begins to play a long, improvisatory melody. The curtain of the puppet theater rises to reveal three puppets hanging on the wall: the Moor, the Ballerina, and Petrushka. When the Magician touches them with his flute (to chirps in the orchestra), they seem to awaken. The astonished crowd watches as, with a wave of the Magician's hand, the three puppets begin a vigorous Russian Dance (based on two more Russian folk-tunes: "A Linden Tree Is in the Field" and "Song for St. John's Eve"). In Fokine's masterly choreography, they first begin to move their feet (while still hanging on the wall), then burst forth from the puppet theater into the midst of the crowd. The Moor (resplendent in turban and exaggerated pantaloons) is swashbuckling. The Ballerina dances perpetually en pointe. Petrushka, on the other hand, is wooden and awkward. It becomes apparent Petrushka loves the Ballerina; but she has eyes only for the Moor. The Magician calls the dance to a halt; the curtain falls rapidly. Although Petrushka's room is inside the puppet theater, the Benois design is fantastical, portraying the night sky with stars and a half-moon; abstract icebergs (or snow-capped mountains), and a prominent portrait of the Magician. Drumrolls announce the beginning of the Second Tableau. Without an Introduction, the music begins menacingly. "A foot kicks him onstage; Petrushka falls…" As Petrushka gradually pulls himself together, we hear a strange arpeggio in the clarinets: this is the famous "Petrushka chord" (consisting of juxtaposed triads of C major and F♯ major). Petrushka gets to his feet (although shakily) to the accompaniment of waves of arpeggios from the piano (revealing the music's origins in Stravinsky's Konzertstück). The "Petrushka Chord" returns, now violently scored for trumpets, marked in the score "Petrushka's Curses", directed at the portrait of the Magician. The music turns lyrical as Petrushka falls to his knees and mimes (in turn) his self-pity, love for the Ballerina, and hatred of the Magician. The Ballerina (still en pointe) sneaks into Petrushka's room, at first unnoticed. As soon as Petrushka sees her, he begins a manic, athletic display of leaps and frantic gestures (although he was barely able to stand before she arrived). Frightened by his exuberance, the Ballerina flees. Petrushka falls to the floor to the mocking of the clarinets. Another passage of arpeggios for piano grows into a second round of curses directed at the Magician, again represented musically by the "Petrushka Chord", this time scored for full orchestra. For just a moment, Petrushka peers out of his room at the crowd assembled in Admiralty Square (Stravinsky provides a brief reference to the "crowd music" of the First Tableau). Then, Petrushka collapses as we hear a taunting reprise of the clarinets playing the "Petrushka Chord", followed by an odd trumpet call signalling "blackout, curtain." As before, drumrolls link the Third Tableau to its predecessor (in the 1911 score, Stravinsky directs that this drumroll should be omitted in concert performance). In sharp contrast to the darkness of Petrushka's Room, the brilliant colors of the Benois design for the Moor's Room evoke a romanticized desert: palm trees, exotic flowers, sand. In Fokine's choreography, the Moor reclines on a divan playing with a coconut. He then jumps to his feet and attempts to cut it with his scimitar. When he fails he believes that the coconut must be a god and proceeds to pray to it. The Charlatan places the Ballerina in the Moor's room. The Ballerina is attracted to the Moor's handsome appearance. She plays a saucy tune on a toy trumpet (represented by a cornet in the original 1911 orchestration) and then dances with the Moor in a waltz (the themes taken from Joseph Lanner's Op. 165 No. 1 and Op. 200 No. 1). Petrushka finally breaks free from his cell; he interrupts the seduction of the Ballerina. Petrushka attacks the Moor but soon realizes he is too small and weak. The Moor beats Petrushka. The ballerina faints. The clown-puppet flees for his life, with the Moor chasing him, and escapes from the room. The fourth and final scene returns to the carnival. Some time has passed; it is now early evening. The orchestra introduces a chain of colourful dances as a series of apparently unrelated characters come and go about the stage as snow begins to fall. The first and most prominent is the Wet-Nurses' Dance, performed to the tune of the folk song "Down the Petersky Road". Then comes a peasant with his dancing bear, followed in turn by a group of a gypsies, coachmen and grooms and masqueraders. As the merrymaking reaches its peak, a cry is heard from the puppet-theater. Petrushka suddenly runs across the scene, followed by the Moor in hot pursuit brandishing his sword, and the terrified Ballerina chasing after the Moor, fearful of what he might do. The crowd is horrified when the Moor catches up with Petrushka and slays him with a single stroke of his blade. The police question the Charlatan. The Charlatan seeks to restore calm by holding the "corpse" above his head and shaking it to remind everyone that Petrushka is but a puppet. As night falls and the crowd disperses, the Charlatan leaves, carrying Petrushka's limp body. All of a sudden, Petrushka's ghost appears on the roof of the little theatre, his cry now in the form of angry defiance. Petrushka's spirit thumbs its nose at his tormentor from beyond the wood and straw of his carcass. Now completely alone, the Charlatan is terrified to see the leering ghost of Petrushka. He runs away while allowing himself a single frightened glance over his shoulder. The scene is hushed, leaving the audience to wonder who is "real" and who is not. The work is divided into four tableaux (scenes). The score further indicates the following episodes: During rehearsals for the 1911 premiere, Stravinsky and other pianists including Russian composer Nikolai Tcherepnin used a piano four-hand version of the score. This has never been published, although Paul Jacobs and Ursula Oppens, among other pianists, have played it in concert. In 1921, Stravinsky created a virtuosic and celebrated piano arrangement for Arthur Rubinstein, Trois mouvements de Petrouchka, which the composer admitted he could not play himself, for want of adequate left-hand technique. Herbert Stothart, who composed the score for The Wizard of Oz, was visited by Stravinsky at MGM in 1936. Stravinsky gifted Stothart a personal, signed copy of Petrushka. As the main characters in the film run through the Deadly Poppy Field, the opening to the fourth tableau can be heard briefly. In 1946, he thinned the ballet's scoring, in part because the original was not covered everywhere by copyright. The rapid continuous timpani and snare-drum notes that link each scene, optional in 1911, are compulsory in this version, which was published in 1947. The Ballerina's tune is assigned to a trumpet in 1946 in place of a cornet, and the 1946 version provides an optional fff (fortississimo) near the piano conclusion. Stravinsky also removed some difficult metric modulations in the First Tableau. Separately Stravinsky created a suite for concert performance, an almost complete version of the ballet but cutting the last three sections. In 1956, an animated version of the ballet appeared as part of NBC's Sol Hurok Music Hour. It was personally conducted by Stravinsky himself and was the first such collaboration. Directed by animator John David Wilson with Fine Arts Films, it has been noted as the first animated special ever to air on television. In 1988, Maddalena Fagandini directed a version of Petrushka along with The Sleeping Beauty (Tchaikovsky), The Nutcracker (and the Mouse King) (Tchaikovsky) and Coppélia (Delibes) in the BBC puppet film Musical Tales which was released in VHS. Basil Twist debuted his puppetry version of Petrushka at Lincoln Center in 2001; it was performed as well at New York City Center's 2009 Fall for Dance Festival. A full transcription of the 1911 version for symphonic wind ensemble in the original key was made by Don Patterson.

Igor Stravinsky (short bio)

Igor Fyodorovich Stravinsky (17 June 1882 – 6 April 1971) was a Russian composer and conductor with French citizenship (from 1934) and American citizenship (from 1945). He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music. Born to a famous bass in Saint Petersburg, Russia, Stravinsky grew up taking piano and music theory lessons. While studying law at the University of Saint Petersburg, he met Nikolai Rimsky-Korsakov and studied under him until his death in 1908. Igor Stravinsky met the impresario Sergei Diaghilev soon after, who commissioned the composer to write three ballets for the Ballets Russes's Paris seasons: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913), the last of which caused a near-riot at the premiere due to its avant-garde nature and later changed the way composers understood rhythmic structure. Stravinsky's compositional career is often divided into three periods: his Russian period (1913–1920), his neoclassical period (1920–1951), and his serial period (1954–1968). During his Russian period, Stravinsky was heavily influenced by Russian styles and folklore. Works such as Renard (1916) and Les noces (1923) drew upon Russian folk poetry, while compositions like L'Histoire du soldat (1918) integrated these folk elements with popular musical forms, including the tango, waltz, ragtime, and chorale. His neoclassical period exhibited themes and techniques from the classical period, like the use of the sonata form in his Octet (1923) and use of Greek mythological themes in works like Apollon musagète (1927), Oedipus rex (1927), and Persephone (1935). In his serial period, Stravinsky turned towards compositional techniques from the Second Viennese School like Arnold Schoenberg's twelve-tone technique. In Memoriam Dylan Thomas (1954) was the first of his compositions to be fully based on the technique, and Canticum Sacrum (1956) was his first to be based on a tone row. Stravinsky's last major work was the Requiem Canticles (1966), which was performed at his funeral. While many supporters were confused by Stravinsky's constant stylistic changes, later writers recognized his versatile language as important in the development of modernist music. Stravinsky's revolutionary ideas influenced composers as diverse as Aaron Copland, Philip Glass, Béla Bartók, and Pierre Boulez, who were all challenged to innovate music in areas beyond tonality, especially rhythm and form. In 1998, Time magazine listed Stravinsky as one of the 100 most influential people of the century. Stravinsky died of pulmonary edema on 6 April 1971 in New York City, having left six memoirs written with his friend and assistant Robert Craft, as well as an earlier autobiography and a series of lectures. Read the full article

[pastdaily]

Robert Casadesus - Pierre Monteux - Mozart - 1958 - Past Daily Sunday Gramophone

Become a member: Become a Patron! https://pastdaily.com/wp-content/uploads/2024/05/Mozart_KV_491_Casadesus_ONRDF_Monteux_21_09_1958_Montreux.mp3 The legendary Robert Casadesus with the Orchestre National de la RadioDiffusion Francaise led by Pierre Monteux in a performance of Mozart’s Piano Concerto Number 24 (K.491) – recorded broadcast from the Salle du Pavillon in Montreux Switzerland on…

[radsiarai]

Alexander Borodin In the Steppes of Central Asia/Prince Igor

https://rumble.com/v1y7w1u-alexander-borodin-in-the-steppes-of-central-asiaprince-igor.html?mref=17947j&mc=9fatg

Alexander Borodin In the steppes of Central Asia Orchestre national de l'O.R.T.F., conductor: Charles Munch Prince Igor Hamburg Symphony Orchestra, Conductor: Pierre Monteux "In the Steps of Central Asia" is a symphonic poem composed by Alexander Borodin. Inspired by his travels through Central Asia, Borodin sought to capture the essence of the region's landscapes, culture, and musical traditions through his composition. This piece embodies Borodin's fascination with the exotic and mystic allure of Central Asia. The composition begins with a gentle and mysterious introduction, akin to the vast and enigmatic Central Asian landscapes. As the music progresses, Borodin skillfully incorporates a variety of melodic themes, evoking the vibrant and diverse cultures of the region. The piece builds up to a powerful crescendo, symbolizing the energetic spirit and dynamic nature of Central Asia. Borodin's orchestration in "In the Steps of Central Asia" is a testament to his mastery of blending Western musical techniques with Eastern influences. He seamlessly integrates traditional Central Asian melodies, rhythms, and instruments into a Western orchestral framework, creating a harmonious fusion that transports listeners to the heart of the region. "Prince Igor": "Prince Igor" is an opera composed by Alexander Borodin, although it remained unfinished at the time of his death. Inspired by Russian history and folklore, the opera tells the story of Prince Igor, a legendary figure from the 12th century. Despite its incomplete state, "Prince Igor" is revered for its beautiful melodies, lyrical arias, and stirring choral sections. The opera showcases Borodin's ability to craft memorable and emotionally charged music. From the passionate arias sung by the opera's characters to the powerful choral arrangements, "Prince Igor" captures the grandeur and dramatic intensity of Russian opera. Borodin's gift for melody and his ability to evoke a wide range of emotions through his music are evident throughout the composition. Borodin, as a member of "The Mighty Handful," a group of Russian composers dedicated to creating a distinctive nationalistic style, infused "Prince Igor" with elements of Russian folklore and traditional melodies. This infusion of Russian musical heritage, combined with Borodin's own compositional style, contributes to the opera's significance as a symbol of Russian cultural identity. The musical works of Alexander Borodin, including "In the Steps of Central Asia" and "Prince Igor," are testaments to his innovative spirit and artistry as a composer. Through these compositions, Borodin successfully merged Western and Eastern influences, creating music that captivates listeners with its evocative melodies, powerful orchestrations, and cultural significance. As we continue to explore and appreciate the works of Borodin, we gain a deeper understanding of his contributions to the world of classical music and his lasting legacy as a Russian composer.

[korrektheiten]

Can You English? Oder wenigstens Bayerisch? Eine recht extreme Posse zur Weihnachtszeit

Ansage: »ls der legendäre Pianist Wladimir Horowitz 1986 in London das Mozart’sche Klavierkonzert Nr. 23 einspielte, wurde er in einer Aufnahmepause von Journalisten gefragt, ob ihm etwa Kritik an seinem Mozart-Verständnis sehr nahe ginge. Darauf Horowitz: Der berühmte französische Dirigent Pierre Monteux, einer seiner Freunde, habe ihm einmal erzählt, dass nach einem Konzert eine dieser juwelenbehangenen vielfältigen Society-Ladies […] The post Can You English? Oder wenigstens Bayerisch? Eine recht extreme Posse zur Weihnachtszeit first appeared on Ansage. http://dlvr.it/T0S2CN «

[huangchechin]

19658792072/Anshel Brusilow conducts the Chamber Symphony of Philadelphia – The Complete RCA Album Collection (6CD)

布魯希洛RCA錄音全集 6CD 布魯希洛 指揮 費城室內交響樂團 ◎ 布魯希洛存世之少數錄音首度發行CD ◎ 由布魯希洛親自指揮一手創立的費城室內交響樂團演奏 ◎ 高傳真雜誌稱許費城室內交響樂團是「一支品質罕見的管弦樂團」 ◎ 原始錄音母帶均經過24 bit/192 kHz技術重新處理 　　本套專集是美籍匈牙利指揮家與小提琴家布魯希洛（Anshel Brusilow）存世的少數錄音，十分珍貴難尋，堪稱收藏級之逸品。 　　布魯希洛1928年生於美國費城，父母是烏克蘭猶太移民。5歲時以神童之姿進入布達佩斯國立音樂學院研習小提琴，11歲畢業於寇蒂斯音樂院，16歲進入費城音樂院成為大指揮家蒙都（Pierre Monteux）有史以來最年輕的學生。之後還隨喬治·塞爾（George Szell）和尤金·奧曼迪（Eugene Ormandy）學習。17歲成為布達佩斯國立音樂學院的教授。…

[nextposition1]

Georges de La Fuly: Le dos de Pierre Monteux

[sonyclasica]

ANSHEL BRUSILOW & THE CHAMBER SYMPHONY OF PHILADELPHIA

ANSHEL BRUSILOW CONDUCTS THE CHAMBER SYMPHONY OF PHILADELPHIA: THE COMPLETE RCA ALBUM COLLECTION

Se publican sus grabaciones completas por primera vez en CD.

Consíguelo AQUÍ

La Chamber Symphony of Philadelphia fue fundada en 1965 por Anshel Brusilow, entonces concertino de la Orquesta de Filadelfia. Brusilow, que estudió dirección y tocó con Pierre Monteux, George Szell y Eugene Ormandy, hizo una audición a más de 1.000 músicos para los 36 puestos a tiempo completo y dirigió el conjunto desde 1966 hasta 1968, cuando se disolvió por falta de apoyo filantrópico suficiente en la ciudad para una segunda orquesta. Pero en el transcurso de dos temporadas y media de 34 semanas ya había dado más de 200 conciertos y grabado seis discos para RCA Victor. Sony Classical publica ahora por primera vez en CD todas estas grabaciones en LP de la Sinfónica de Cámara de Filadelfia.

Las ediciones originales en LP fueron elogiadas por High Fidelity, que calificó a la Sinfónica de Cámara de Filadelfia de "orquesta de calidad excepcional". Al reseñar su estreno, la Serenata en Re mayor de Brahms, la revista estadounidense de música clásica opinó: "Brusilow difícilmente podría haber elegido una obra mejor para mostrar las capacidades de su nueva orquesta: cada uno de los intérpretes de instrumentos de viento-madera y viento-metal de primer orden tiene su oportunidad de brillar (y cada uno brilla, magistralmente)".

A Brahms le siguieron una serie de combinaciones selectas: La Suite "Mozartiana" de Chaikovski con las Variaciones sobre un tema de Chaikovski de Arensky ("Brusilow se siente como en casa en esta tradición, y sus intérpretes responden maravillosamente a su dirección" - High Fidelity); sinfonías de Haydn y Cherubini; un programa francés de Ravel, Ibert y Françaix ("Quizá un reflejo de la influencia de Monteux ... este disco... transmite una convicción estilística real en materia de fraseo, textura y timbre" - High Fidelity); y Le Bourgeois gentilhomme de Richard Strauss, así como la Serenata Italiana de Hugo Wolf.

La orquesta también estrenó y grabó una nueva obra coral sacra de Richard Yardumian, el compositor de Filadelfia abanderado por Eugene Ormandy. “Come, Creator Spirit” (Ven, Espíritu Creador), para mezzosoprano, coro (o congregación) y orquesta, fue la primera misa en lengua vernácula inglesa de un compositor estadounidense consagrado, tras la decisión del Concilio Vaticano de 1963. La obra fue alabada por su integridad, fervor espiritual y poder para comunicar la esencia de la devoción en todos sus matices, desde la alabanza a la súplica.

CONTENIDO DEL SET

DISCO 1:

Brahms: Serenade No. 1 in D Major, Op. 11

DISCO 2:

Yardumian: Come, Creator Spirit

DISCO 3:

Tchaikovsky: Orchestral Suite No. 4, Op. 61, "Mozartiana"

Arensky: Variations on a Theme of Tchaikovsky, Op. 35a 

Tchaikovsky: String Quartet No.1, Op. 11: II. Andante cantabile (Arr. for Orchestra)

DISCO 4:

Cherubini: Symphony in D Major

Haydn: Symphony No. 60 in C Major, Hob. I:60, "Il distratto"

DISCO 5:

Ravel: Le tombeau de Couperin, M. 68a

Francaix: Sérénade for Small Orchestra

Ibert: Suite Symphonique

Ibert: Capriccio

DISCO 6:

R. Strauss: Der Bürger als Edelmann Suite, Op. 60

Wolf: Italian Serenade

[lboogie1906]

Paul Douglas Freeman (January 2, 1936 – July 21, 2015) was a conductor, born in Richmond, Virginia. He was a conductor, composer, and founder of the Chicago Sinfonietta. He earned his BA, MA, and Ph.D. from the Eastman School of Music. A Fulbright Scholarship enabled him to study for two years at the Hochschule für Musik in Berlin with Ewald Lindemann. He studied conducting with Pierre Monteux at the American Symphony Orchestra. He began his conducting career as the music director of the Opera Theatre of Rochester for six years. He then held posts as associate conductor of the Dallas Symphony Orchestra and Detroit Symphony Orchestra. These were followed by a stint as principal guest conductor of the Helsinki Philharmonic. He served as music director of the Victoria Symphony in Canada. He founded the Chicago Sinfonietta of which he remained the Musical Director until his retirement. Concurrently with his time with the Chicago Sinfonietta, he held the post of music director and chief conductor of the Czech National Symphony Orchestra in Prague. Following his retirement from the Chicago Sinfonietta, he was named Emeritus Music Director of the orchestra. He can be considered one of the most successful recording conductors from the US. He has a nine-LP series that follows the history of African American symphonic composers from 1750 to the time of recording. This series garnered a lot of attention on the Columbia Records label during the 1970s and has since been re-released as a Sony Classical boxed set of ten CDs, published in 2019. He collaborated with pianist Derek Han to record all of the piano concertos of Mozart, Haydn, and Beethoven. In his work with numerous orchestras, he has been a part of over a dozen televised productions in North America and Europe. He has been nominated for two Emmy Awards. He married Cornelia Freeman and they had one son. #africanhistory365 #africanexcellence https://www.instagram.com/p/Cm6jKdcLjBH/?igshid=NGJjMDIxMWI=

[alanswann]

Vinyl Session: Tchaikovsky Pathétique Symphony Boston Symphony Orchestra Pierre Monteux https://www.instagram.com/p/CkrSNXJptRe/?igshid=NGJjMDIxMWI=

[diioonysus]

history | ballets russes

ballets russes was an itinerant ballet company begun in paris that performed between 1909 and 1929 throughout europe and on tours to north and south america. the company never performed in russia, where the revolution disrupted society. created by sergei diaghilev, it was the most influencial ballet company of the 20th century. with high-end designers like pablo picasso and leon bakst and composers like pierre monteux, the company was able to create huge shows. its influence transcends into modern-day,

[opera-ghosts]

The Conductor Pierre Monteux (1875-1964) was the conductor of the premiere from Stravinsky „Le Sacre du printemps“ in Paris who was a great scandal 1913. He has a great career after that and was also working at The Metropolitan Opera. Here we see a signed drawing from Monteux by Willy Dreifuss and a original evening cast paper from 1918 from a rare played Opera at the Met „Marouf“ Music by Henri Rabaud (1873-1949).

[sunset-supergirl]

Happy birthday Pierre Monteux

[pastdaily]

Pierre Monteux And Orchestre National de France Play Elgar - 1958 - Past Daily Weekend Gramophone

Subscribing works wonders: Become a Patron! https://pastdaily.com/wp-content/uploads/2024/03/Elgar_Enigma_ON_Monteux_Montreux_1958.mp3 From a concert given at Salle du Pavillon in Montreux, Switzerland on September 21, 1958 – a performance of Elgar’s Enigma Variations (Variations On An Original Theme) featuring Orchestre National de France under the direction of Pierre Monteux. Since his first…

[focusmonumentum]

Le Théâtre des Champs-Élysées

Le Théâtre des Champs-Elysées ne se situe pas à proprement parlement sur le célèbre axe éponyme, mais sur la non distante avenue Montaigne, proche de la place de l’Alma. Construit en 1913 dans un style sobre et rigoureux, le bâtiment est considéré comme l’un des premiers représentants du style Art déco en architecture. Il abrite actuellement trois salles de spectacle et un restaurant au sommet, aligné sur les immeubles voisins.

Il était initialement prévu que la structure soit en acier, ce qui avait poussé son premier directeur, Gabriel Astruc, à choisir les architectes Henry Fivaz et Roger Bouvard. En 1910, Henry Van de Velde est « appuyé » à Bouvard. Van de Velde fait la connaissance d'Auguste Perret un an après ; c'est alors que la structure est envisagée en béton. Ayant fait appel à l'entreprise Perret pour l'ossature en béton, Van de Velde est finalement évincé du projet. Auguste Perret transige un peu avec ses principes : s'il affirme ultérieurement que le « béton se suffit à lui-même », il habille ici la façade de plaques de travertin et le cadre de scène de plaques de marbre de l'Allier, où sont intégrés plusieurs bas-reliefs en partie basse de l’édifice, de gauche à droite, cinq allégories des arts : La Sculpture et l’Architecture, La Musique, La Tragédie, La Comédie et La Danse, en marbre blanc sculpté par Antoine Bourdelle. Les quatre groupes de poteaux intérieurs sont quant à eux laissés visibles.

Il fut inauguré le 31 mars 1913 par un concert de musique française avec la participation de Camille Saint-Saëns : La Mer de Claude Debussy, L'Apprenti Sorcier de Paul Dukas et le Prélude de Fervaal de Vincent d'Indy (toutes les œuvres étant dirigées par les compositeurs eux-mêmes), ainsi que la création de l’Ode à la musique d’Emmanuel Chabrier. À cette occasion, le faisceau de la tour Eiffel éclaire exceptionnellement la façade du théâtre. C'est dans cette salle qu'eurent lieu en particulier deux créations mondiales qui firent scandale : la première fut la création du Sacré du Printemps d'Igor Stravinsky le 29 mai 1913 (sous la direction de Pierre Monteux), qui suscita un formidable tollé où détracteurs et adjuvants en vinrent aux mains ; la deuxième, le 2 décembre 1954, fut la création de la véritable première œuvre musicale « mixte » (à savoir une œuvre pour instruments de musique et dispositif électroacoustique): Déserts d'Edgar Varèse, avec Pierre Henry à la bande magnétique et Hermann Scherchen à la baguette. Le choc inspiré par les interpolations provoqua huées, rires et quolibets. Le scandale qui en résulta fut comparable à celui du Sacre quelques 40 années plus tôt. À la suite de problèmes financiers, le directeur Jacques Hébertot se brouille avec son associé Rolf de Maré (également impresario des ballets suédois) et quitte le théâtre en 1925, abandonnant la direction de la Comédie à Louis Jouvet, et celle du Studio à Gaston Baty. De Maré fait de la grande salle un music-hall et programme une nouvelle attraction : les Black Birds et les danseurs de la Revue nègre. Parmi eux, une jeune femme noire, à peine couverte d’une jupette de plumes verte, les cheveux courts plaqués sur la tête, fait sensation. Il s’agit de la danseuse Joséphine Baker. Sa façon de se mouvoir dans l’espace, d’emprunter des gestes animaliers ou de faire des grands écarts désarticulés bouscule tous les canons de la danse, dans ces "années folles" empruntes de Charleston. Pour certains, cette impudeur est un scandale. Le journaliste Robert de Flers écrit même : « Nous sommes en train de remonter au singe plus vite que nous en étions descendus. » [...] Mais Baker a ses fans. Parmi eux, les peintres Pablo Picasso (qui la fait connaître dans toute l’Europe), Fernand Léger et Kees Van Dongen, les écrivains René Crevel (qui revient chaque soir pendant un mois), Colette ou encore Jean Cocteau. Née à Saint-Louis, dans le Missouri, d’une mère blanche et d’un père noir, Joséphine Baker échappe par la danse à sa condition. Avec la Revue nègre, elle débarque à Paris, qui deviendra sa terre d’accueil, son fameux « deuxième amour », avec son pays. Elle triomphera aux Folies Bergère quelques années plus tard, mais nous y reviendrons à l’occasion. 

De 1949 à 1978, le Théâtre des Champs-Élysées a accueilli les Musigrains, des cycles de concerts-conférences pédagogiques, axés sur la musique classique, avec des incursions dans la musique contemporaine, la danse classique ou moderne, le folk et le jazz. En 1986, à l’initiative de Georges Francois Hirsch, alors directeur général, une rénovation intégrale de la cage de scène de la grande salle est opérée, remettant en valeur les dorures de l'écran de fond de scène en acier, conçu à l'origine comme un monumental coupe-feu en cas d'incendie, leçon tirée des tragiques incendies de l'Opéra Comique et du Bazar de la Charité à la fin du XIXème siècle. 

Le bâtiment comporte de nos jours trois salles de spectacle, ordonnées comme suit : une grande salle à l'italienne de 1 905 places, destinée à l'opéra et à la musique ; une salle moyenne de 601 places (la Comédie) et une petite de 230 places (le Studio), toutes deux consacrées au théâtre. Haut lieu de la musique classique à Paris (avec la salle Pleyel, la Cité de la Musique et la salle Gaveau), le Théâtre des Champs-Élysées a accueilli de nombreux orchestres symphoniques tels les orchestres philharmoniques de Vienne, de Munich, de New York, l'orchestre symphonique de la Radiodiffusion bavaroise ou l'orchestre royal du Concertgebouw d'Amsterdam. L’Orchestre national de France y est actuellement en résidence.

Le toit-terrasse du théâtre accueillit en 1924 le tournage d’Entr’acte, le moyen-métrage expérimental de René Clair, à l'occasion de l'entracte du ballet bien nommé Relâche, orchestré par Francis Picabia. Représentant la première intervention du cinéma dans un spectacle de danse, Entr'acte est aujourd'hui considéré comme le film précurseur du mouvement surréaliste au cinéma.