Concertgebouw Orchestra, Eduard van Beinum - 20th Century Masterpieces (1948)
BAND/ARTIST: Concertgebouw Orchestra, Eduard van Beinum
- Title: Eduard van Beinum - 20th-Century Masterpieces
- Year Of Release: 1948/2018
- Label: Universal Music Australia Pty. Ltd.
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 02:37:51
- Total Size: 621 mb
- WebSite: Album Preview
Tracklist
01. Concerto for Orchestra, Sz. 116: 1. Introduzione (Andante non troppo - Allegro vivace)
02. Concerto for Orchestra, Sz. 116: II. Giuoco della coppie (Allegretto scherzando)
03. Concerto for Orchestra, Sz. 116: III. Elegia (Andante, non troppo)
04. Concerto for Orchestra, Sz. 116: IV. Intermezzo interrotto (Allegretto)
05. Concerto for Orchestra, Sz. 116: V. Finale (Pesante - Presto)
06. Music for Strings, Percussion and Celeste, Sz. 106: I. Andante tranquillo
07. Music for Strings, Percussion and Celeste, Sz. 106: II. Allegro
08. Music for Strings, Percussion and Celeste, Sz. 106: III. Adagio
09. Music for Strings, Percussion and Celeste, Sz. 106: IV. Allegro molto
10. The Firebird Suite (1919 Version): I. Introduction
11. The Firebird Suite (1919 Version): II. Dance of the Firebird
12. The Firebird Suite (1919 Version): III. Variation of the Firebird
13. The Firebird Suite (1919 Version): IV. Round Dance of the Princesses
14. The Firebird Suite (1919 Version): V. Infernal Dance of King Kaschei
15. The Firebird Suite (1919 Version): VI. Berceuse
16. The Firebird Suite (1919 Version): VII. Finale
17. Le sacre du printemps, Pt. 1 "L'adoration de la terre": I. Introduction
18. Le sacre du printemps, Pt. 1 "L'adoration de la terre": II. Les augures printaniers - Danses des adolescentes
19. Le sacre du printemps, Pt. 1 "L'adoration de la terre": III. Jeu du rapt
20. Le sacre du printemps, Pt. 1 "L'adoration de la terre": IV. Rondes printanières
21. Le sacre du printemps, Pt. 1 "L'adoration de la terre": V. Jeux des cités
22. Le sacre du printemps, Pt. 1 "L'adoration de la terre": VI. Cortège du sage
23. Le sacre du printemps, Pt. 1 "L'adoration de la terre": VII. Le sage
24. Le sacre du printemps, Pt. 1 "L'adoration de la terre": VIII. Danse de la terre
25. Le sacre du printemps, Pt. 2 "Le sacrifice": I. Introduction
26. Le sacre du printemps, Pt. 2 "Le sacrifice": II. Cercles mysteriéux des adolescentes
27. Le sacre du printemps, Pt. 2 "Le sacrifice": III. Glorification d'élue
28. Le sacre du printemps, Pt. 2 "Le sacrifice": IV. Évocation des ancêtres
29. Le sacre du printemps, Pt. 2 "Le sacrifice": V. Action rituelle des ancêtres
30. Le sacre du printemps, Pt. 2 "Le sacrifice": VI. Danse sacrale: l'élue
31. Le chant du rossignol: I. Introduction - The Feast at the Emporer's Palace
32. Le chant du rossignol: II. Marche chinoise
33. Le chant du rossignol: III. Chant du rossignol
34. Le chant du rossignol: IV. Jeu du rossignol mécanique
35. Hary Janos Suite: I. Prelude - The Fairy Tale Begins
36. Hary Janos Suite: II. Viennese Musical Clock
37. Hary Janos Suite: III. Song
38. Hary Janos Suite: IV. The Battle and Defeat of Napoleon
39. Hary Janos Suite: V. Intermezzo
40. Hary Janos Suite: VI. Entrance of the Emperor and his Court
The recorded legacy of Eduard van Beinum has been extensively documented on Eloquence. Previous issues have revealed the Dutch conductor’s mastery of and sympathy for 20th century composers such as Sibelius (4429487) and Britten (4802337). His clear-headed approach to any score, combined with the refinement of the Concertgebouw Orchestra, particularly suit the music of Bartók and Stravinsky represented here. At the same time, Van Beinum was renowned for a fastidious ear in the matter of orchestral colour – he could draw out a full palette of sonority in works such as the Symphonie fantastique of Berlioz (also on Eloquence, 4825569) and Rimsky-Korsakov’s Scheherazade (4825511), a palette which is further tinted and enhanced by the twanging cimbalom in the uproarious suite from Kodály’s Háry János to conclude this album.
In the repertoire of Willem Mengelberg, Van Beinum’s predecessor at the Concertgebouw, the enthusiasm for music of his own time did not extend much beyond that of his friend Gustav Mahler, and native fellow-Dutch composers. It fell to the younger man, when he finally took full charge of the orchestra in 1945 after sharing responsibility with Mengelberg for several years, to update its repertoire. He did this by casting his net across European modernism and its most distinctive voices. Folksong, whether real or invented, was central to the different idioms of the three composers here, from Stravinsky’s use of old Russian tunes in his sensational first commission for the Ballets Russes of Serge Diaghilev, The Firebird of 1910 (Van Beinum conducts the suite made in 1919) to the unmistakably ‘Hungarian’ sound of both Háry János (1926) and Bartok’s late Concerto for Orchestra of 1943. The most adventurous music here may not even be heard in the archaic savagery of The Rite of Spring (a recording that set new standards for precision in this complex score when first issued in 1948, still on 78s) but in the 1956 recording of another suite, extracted by from his magical, mechanical opera of 1914, Le Rossignol (The Nightingale).
‘An uncommonly sound performance and a truly brilliant recording, bringing out more of the score than I should have thought possible.’ Gramophone, March 1948 (Le Sacre du printemps)
‘A triumph of engineering and conducting. In no other version will be the cimbalom sound as clear.’ Gramophone, January 1957 (Háry János)
‘[Van Beinum] takes a thoroughly Romantic view of this music, giving a performance that emphasises its links with the Rimsky of Coq d’Or and Scheherazade … the beautiful playing of the Concertgebouw woodwind, and the recorded tone is warm to match.’ Gramophone, March 1958 (Le Chant du rossignol, L’Oiseau de feu)
01. Concerto for Orchestra, Sz. 116: 1. Introduzione (Andante non troppo - Allegro vivace)
02. Concerto for Orchestra, Sz. 116: II. Giuoco della coppie (Allegretto scherzando)
03. Concerto for Orchestra, Sz. 116: III. Elegia (Andante, non troppo)
04. Concerto for Orchestra, Sz. 116: IV. Intermezzo interrotto (Allegretto)
05. Concerto for Orchestra, Sz. 116: V. Finale (Pesante - Presto)
06. Music for Strings, Percussion and Celeste, Sz. 106: I. Andante tranquillo
07. Music for Strings, Percussion and Celeste, Sz. 106: II. Allegro
08. Music for Strings, Percussion and Celeste, Sz. 106: III. Adagio
09. Music for Strings, Percussion and Celeste, Sz. 106: IV. Allegro molto
10. The Firebird Suite (1919 Version): I. Introduction
11. The Firebird Suite (1919 Version): II. Dance of the Firebird
12. The Firebird Suite (1919 Version): III. Variation of the Firebird
13. The Firebird Suite (1919 Version): IV. Round Dance of the Princesses
14. The Firebird Suite (1919 Version): V. Infernal Dance of King Kaschei
15. The Firebird Suite (1919 Version): VI. Berceuse
16. The Firebird Suite (1919 Version): VII. Finale
17. Le sacre du printemps, Pt. 1 "L'adoration de la terre": I. Introduction
18. Le sacre du printemps, Pt. 1 "L'adoration de la terre": II. Les augures printaniers - Danses des adolescentes
19. Le sacre du printemps, Pt. 1 "L'adoration de la terre": III. Jeu du rapt
20. Le sacre du printemps, Pt. 1 "L'adoration de la terre": IV. Rondes printanières
21. Le sacre du printemps, Pt. 1 "L'adoration de la terre": V. Jeux des cités
22. Le sacre du printemps, Pt. 1 "L'adoration de la terre": VI. Cortège du sage
23. Le sacre du printemps, Pt. 1 "L'adoration de la terre": VII. Le sage
24. Le sacre du printemps, Pt. 1 "L'adoration de la terre": VIII. Danse de la terre
25. Le sacre du printemps, Pt. 2 "Le sacrifice": I. Introduction
26. Le sacre du printemps, Pt. 2 "Le sacrifice": II. Cercles mysteriéux des adolescentes
27. Le sacre du printemps, Pt. 2 "Le sacrifice": III. Glorification d'élue
28. Le sacre du printemps, Pt. 2 "Le sacrifice": IV. Évocation des ancêtres
29. Le sacre du printemps, Pt. 2 "Le sacrifice": V. Action rituelle des ancêtres
30. Le sacre du printemps, Pt. 2 "Le sacrifice": VI. Danse sacrale: l'élue
31. Le chant du rossignol: I. Introduction - The Feast at the Emporer's Palace
32. Le chant du rossignol: II. Marche chinoise
33. Le chant du rossignol: III. Chant du rossignol
34. Le chant du rossignol: IV. Jeu du rossignol mécanique
35. Hary Janos Suite: I. Prelude - The Fairy Tale Begins
36. Hary Janos Suite: II. Viennese Musical Clock
37. Hary Janos Suite: III. Song
38. Hary Janos Suite: IV. The Battle and Defeat of Napoleon
39. Hary Janos Suite: V. Intermezzo
40. Hary Janos Suite: VI. Entrance of the Emperor and his Court
The recorded legacy of Eduard van Beinum has been extensively documented on Eloquence. Previous issues have revealed the Dutch conductor’s mastery of and sympathy for 20th century composers such as Sibelius (4429487) and Britten (4802337). His clear-headed approach to any score, combined with the refinement of the Concertgebouw Orchestra, particularly suit the music of Bartók and Stravinsky represented here. At the same time, Van Beinum was renowned for a fastidious ear in the matter of orchestral colour – he could draw out a full palette of sonority in works such as the Symphonie fantastique of Berlioz (also on Eloquence, 4825569) and Rimsky-Korsakov’s Scheherazade (4825511), a palette which is further tinted and enhanced by the twanging cimbalom in the uproarious suite from Kodály’s Háry János to conclude this album.
In the repertoire of Willem Mengelberg, Van Beinum’s predecessor at the Concertgebouw, the enthusiasm for music of his own time did not extend much beyond that of his friend Gustav Mahler, and native fellow-Dutch composers. It fell to the younger man, when he finally took full charge of the orchestra in 1945 after sharing responsibility with Mengelberg for several years, to update its repertoire. He did this by casting his net across European modernism and its most distinctive voices. Folksong, whether real or invented, was central to the different idioms of the three composers here, from Stravinsky’s use of old Russian tunes in his sensational first commission for the Ballets Russes of Serge Diaghilev, The Firebird of 1910 (Van Beinum conducts the suite made in 1919) to the unmistakably ‘Hungarian’ sound of both Háry János (1926) and Bartok’s late Concerto for Orchestra of 1943. The most adventurous music here may not even be heard in the archaic savagery of The Rite of Spring (a recording that set new standards for precision in this complex score when first issued in 1948, still on 78s) but in the 1956 recording of another suite, extracted by from his magical, mechanical opera of 1914, Le Rossignol (The Nightingale).
‘An uncommonly sound performance and a truly brilliant recording, bringing out more of the score than I should have thought possible.’ Gramophone, March 1948 (Le Sacre du printemps)
‘A triumph of engineering and conducting. In no other version will be the cimbalom sound as clear.’ Gramophone, January 1957 (Háry János)
‘[Van Beinum] takes a thoroughly Romantic view of this music, giving a performance that emphasises its links with the Rimsky of Coq d’Or and Scheherazade … the beautiful playing of the Concertgebouw woodwind, and the recorded tone is warm to match.’ Gramophone, March 1958 (Le Chant du rossignol, L’Oiseau de feu)
Year 2018 | Classical | FLAC / APE
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