Vladimir Jurowski & Russian National Orchestra - Tchaikovsky: Suite No. 3 in G Major / Stravinsky: Divertimento (2006) [Hi-Res]
![Vladimir Jurowski & Russian National Orchestra - Tchaikovsky: Suite No. 3 in G Major / Stravinsky: Divertimento (2006) [Hi-Res]](https://www.dibpic.com/uploads/posts/2022-07/1657534216_vladimir-jurowski-tchaikovsky-suite-no_-3-in-g-major-stravinsky-divertimento-2006.jpg)
BAND/ARTIST: Vladimir Jurowski, Russian National Orchestra
- Title: Tchaikovsky: Suite No. 3 in G Major / Stravinsky: Divertimento
- Year Of Release: 2006
- Label: PentaTone
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz +Booklet
- Total Time: 01:04:00
- Total Size: 244 mb / 1.02 gb
- WebSite: Album Preview
Tracklist
01. Suite No. 3 In G Major, Op. 55: I. Elegie: Andantino Molto Cantabile - Andante
02. Suite No. 3 In G Major, Op. 55: II. Valse Melancolique: Allegro Moderato
03. Suite No. 3 In G Major, Op. 55: III. Scherzo: Presto
04. Suite No. 3 In G Major, Op. 55: IV. Tema Con Variazioni: Andante Con Moto
05. Divertimento (version for Orchestra): I. Sinfonia: Andante - Vivace Agitato
06. Divertimento (version for Orchestra): II. Danses Suisses: Tempo Giusto - Valse - Poco Piu Lento
07. Divertimento (version for Orchestra): III. Scherzo: Moderato - Allegretto Grazioso
08. Divertimento (version for Orchestra): IV. Pas de Deux: Adagio - Allegretto Grazioso - Presto
This enjoyable recording offers two works that are underappreciated by two composers who most certainly are not. Tchaikovsky produced his four orchestral suites during the nine years between the composition of the Fourth and Fifth symphonies. The reputation of these pieces is that they are slighter stuff—Tchaikovsky taking a respite from the rigors of creating formal symphonic structures—and that they’re somewhat experimental (the middle movement of No. 2 does feature accordions, after all), a kind of proving ground for the late, great symphonies. But, in fact, the suites are highly polished works that are immensely satisfying in their own right. No. 3 is the most ambitious, though No. 4 (“Mozartiana”) may be the best known and will probably get some additional attention during Mozart’s 250th birthday year.
Antal Dorati’s 1966 performances of all four suites (available on-the-cheap as a Philips Duo set, 454 253) have long been a benchmark for this music. Dorati’s reading of No. 3 has perfectly judged tempos, a quicksilver rhythmic alertness, and balletic momentum. The young but very accomplished Vladimir Jurowski—he’s been music director of the Glyndebourne Festival Opera since his late twenties and is currently principal guest conductor of both the London Philharmonic Orchestra and the Russian National Orchestra—takes a more understated but still quite idiomatic approach. Melodic lines are beautifully sculpted and there’s excellent pacing of the lengthy Theme and Variations finale. The RNO’s playing is impressive, with the winds deserving special note; Jurowski certainly has a more appealing sounding principal oboist at his disposal than Dorati. Concertmaster Sergey Galaktionov handles his solo in the last movement admirably.
The single act “ballet-allegory” Le baiser de la fée (“The Fairy’s Kiss”), composed in 1928, is one of the finest examples of Stravinsky’s neo-Classical style. The composer produced a suite from the ballet that he entitled Divertimento, subsequently revised in 1949. The work is a knowing distillation of many characteristics of Tchaikovsky’s music, based on a number of his songs and piano pieces. Stravinsky’s work glows with respect and fondness for the older composer. Jurowski’s way with the more lyrical material is beautiful, though some of the livelier passages might have been more strongly accented. Again, the RNO woodwinds delight, as with the flute and clarinet solos of the closing Pas de deux. Jurowski is actually a good foil for Fritz Reiner’s crisper, more businesslike performance with Chicago, available in superb “Golden Age” sound on an RCA Living Stereo CD (61957) that also holds the conductor’s classic version of Lieutenant Kijé and his important recording of Alan Hovhaness’s Mysterious Mountain.
“Tchaikovsky's Third Suite, with its final extended set of variations, can seem rather the square under some conductors but Jurowski, maybe influenced by conducting opera and ballet, brings out the surging lyricism. Stravinsky's Divertimento, its four movements taken from the ballet The Fairy's Kiss... is apt and illuminating. Jurowski steers a nice course between the romantic warmth of the Tchaikovsky sources from which Stravinsky took his material (songs and piano pieces) and his 1920s neo-classicism.” (GRAMOPHONE)
Russian National Orchestra
Vladimir Jurowski, Conductor
01. Suite No. 3 In G Major, Op. 55: I. Elegie: Andantino Molto Cantabile - Andante
02. Suite No. 3 In G Major, Op. 55: II. Valse Melancolique: Allegro Moderato
03. Suite No. 3 In G Major, Op. 55: III. Scherzo: Presto
04. Suite No. 3 In G Major, Op. 55: IV. Tema Con Variazioni: Andante Con Moto
05. Divertimento (version for Orchestra): I. Sinfonia: Andante - Vivace Agitato
06. Divertimento (version for Orchestra): II. Danses Suisses: Tempo Giusto - Valse - Poco Piu Lento
07. Divertimento (version for Orchestra): III. Scherzo: Moderato - Allegretto Grazioso
08. Divertimento (version for Orchestra): IV. Pas de Deux: Adagio - Allegretto Grazioso - Presto
This enjoyable recording offers two works that are underappreciated by two composers who most certainly are not. Tchaikovsky produced his four orchestral suites during the nine years between the composition of the Fourth and Fifth symphonies. The reputation of these pieces is that they are slighter stuff—Tchaikovsky taking a respite from the rigors of creating formal symphonic structures—and that they’re somewhat experimental (the middle movement of No. 2 does feature accordions, after all), a kind of proving ground for the late, great symphonies. But, in fact, the suites are highly polished works that are immensely satisfying in their own right. No. 3 is the most ambitious, though No. 4 (“Mozartiana”) may be the best known and will probably get some additional attention during Mozart’s 250th birthday year.
Antal Dorati’s 1966 performances of all four suites (available on-the-cheap as a Philips Duo set, 454 253) have long been a benchmark for this music. Dorati’s reading of No. 3 has perfectly judged tempos, a quicksilver rhythmic alertness, and balletic momentum. The young but very accomplished Vladimir Jurowski—he’s been music director of the Glyndebourne Festival Opera since his late twenties and is currently principal guest conductor of both the London Philharmonic Orchestra and the Russian National Orchestra—takes a more understated but still quite idiomatic approach. Melodic lines are beautifully sculpted and there’s excellent pacing of the lengthy Theme and Variations finale. The RNO’s playing is impressive, with the winds deserving special note; Jurowski certainly has a more appealing sounding principal oboist at his disposal than Dorati. Concertmaster Sergey Galaktionov handles his solo in the last movement admirably.
The single act “ballet-allegory” Le baiser de la fée (“The Fairy’s Kiss”), composed in 1928, is one of the finest examples of Stravinsky’s neo-Classical style. The composer produced a suite from the ballet that he entitled Divertimento, subsequently revised in 1949. The work is a knowing distillation of many characteristics of Tchaikovsky’s music, based on a number of his songs and piano pieces. Stravinsky’s work glows with respect and fondness for the older composer. Jurowski’s way with the more lyrical material is beautiful, though some of the livelier passages might have been more strongly accented. Again, the RNO woodwinds delight, as with the flute and clarinet solos of the closing Pas de deux. Jurowski is actually a good foil for Fritz Reiner’s crisper, more businesslike performance with Chicago, available in superb “Golden Age” sound on an RCA Living Stereo CD (61957) that also holds the conductor’s classic version of Lieutenant Kijé and his important recording of Alan Hovhaness’s Mysterious Mountain.
“Tchaikovsky's Third Suite, with its final extended set of variations, can seem rather the square under some conductors but Jurowski, maybe influenced by conducting opera and ballet, brings out the surging lyricism. Stravinsky's Divertimento, its four movements taken from the ballet The Fairy's Kiss... is apt and illuminating. Jurowski steers a nice course between the romantic warmth of the Tchaikovsky sources from which Stravinsky took his material (songs and piano pieces) and his 1920s neo-classicism.” (GRAMOPHONE)
Russian National Orchestra
Vladimir Jurowski, Conductor
Classical | FLAC / APE | HD & Vinyl
As a ISRA.CLOUD's PREMIUM member you will have the following benefits:
- Unlimited high speed downloads
- Download directly without waiting time
- Unlimited parallel downloads
- Support for download accelerators
- No advertising
- Resume broken downloads