Чайковский Пётр

.. NOS. 4 & 5

.. NOS. 4 & 6; VIOLIN CONCERTO

.. BALLET MUSIC

.. NO. 3; VIOLIN CONCERTO

Swan Lake has a special place in The Royal Ballet’s repertory. This new production by Artist in Residence Liam Scarlett features additional choreography whilst remaining faithful to Petipa and Ivanov’s classic. John Macfarlane’s opulent designs provide an atmospheric, period setting for this enthralling love story, illuminated by Tchaikovsky’s sublime score. Marianela Nuñez brings both poignancy and glitter to the dual role of Odette / Odile, with Vadim Muntagirov as the yearning Prince Siegfried, while the corps de ballet are showcased at their spellbinding best as the enchanted swans and cygnets. “What a magnificent achievement this is. The young choreographer Liam Scarlett has given Covent Garden its first new Swan Lake in 30 years, and it’s a winner. Big, bold and beautiful, it’s completely distinctive — Scarlett has put his stamp all over this production — yet it honours the traditions of the Royal Ballet." (The Times ★★★★★) “From glittering court acts to the misty romantic lakeside, it balances spectacle, storytelling and powerful dancing from the entire company, with Marianela Nuñez and Vadim Muntagirov on glorious form in the leading roles.” (The Independent ★★★★★) “… it stands out from so many other Swan Lakes in its attention to dramatic detail … Macfarlane beautifully transforms the stage to a blasted lake and a Turner-esque moon” (The Guardian ★★★★) Artists Marianela Nuñez (Odette/Odile), Vadim Muntagirov (Prince Siegfried), Elizabeth McGorian (The Queen), Bennet Gartside (Von Rothbart), Alexander Campbell (Benno), Akane Takada (Prince Siegfried’s Younger Sister), Francesca Hayward (Prince Siegfried’s Younger Sister) Orchestra of the Royal Opera House, Koen Kessels, choreography by Liam Scarlett after Marius Petipa and Lev Ivanov

• Celebrating the legacy of Herbert von Karajan 30 years after his death (16th July) • Mastered at 24bit/96kHz from original analogue sources • Presented on CD + High Fidelity Pure Audio Blu-ray disc in 24-bit audio

Warner Classics/Parlophone представляют новые выпуски в великолепной бюджетной серии 6-дисковых бокс-сетов 100 Best

Упаковка: Jewel Битpeйт: 256 kbps Bpeмя: 331

Упаковка: Подарочная Битpeйт: 256 kbit/s Bpeмя: 372 мин.

Упаковка: Digi Pack Битpeйт: 256 kbit/s Bpeмя: 360 мин.

We are indeed fortunate that Fritz Kreisler was still at the peak of his powers when electrical recording arrived in 1925. He was as busy as ever in the year covered by these recordings, using Vuillaume and Guarneri del Gesù violins that he said ‘breathe and pulsate with a million vibrations’. On one of his many successful charity concerts in 1927 The Times commented that Kreisler’s ‘fine-drawn phrases have the delicacy of a spider’s thread, the suppleness of elastic, and the strength of steel’. With wonderful examples of parlando bowing, many demonstrations of beautiful double-stopping, lovely staccato and myriad other subtleties such as delicate rhythmic changes, harmonics and variations in dynamics, these New York and Berlin sessions include classic versions of Kreisler’s best works and a rare unaccompanied movement by Bach

The festive series of concerts to celebrate the inauguration of Andris Nelsons and the 275th anniversary of the Gewandhausorchester concluded with a riveting performance of two of music history’s great symphonic works. Mozart’s Symphony No. 40 is one of only two that Mozart wrote in a minor key, which only adds to its singular reception in his canon of symphonies. Tchaikovsky was an admirer of Mozart’s music and paired the premiere of his Sixth Symphony, which he himself conducted, with dances from Mozart’s 'Idomeneo'. The 'Pathétique' would become his legacy as Tchaikovsky died only a few days after its premiere.

The legendary Vienna Mozart Ensemble which came into being in the early years after World War II will forever be associated with the name of the Austrian conductor Josef Krips (1902–1974). Born in Vienna, he had studied music there under Felix Weingartner, was principal violinist in the Volksoper orchestra, then Weingartner's assistant. He took posts as concert master in Aussig (now Ústí nad Labem in the Czech Republic), then Dortmund and Karlsruhe, where he was appointed General Music Director in 1926 before returning to Vienna, where in 1933 he was given the post of conductor at the Vienna State Opera. He left the country of his birth again in 1938 after the Anschluss, but in Belgrade he was prohibited from working after intervention by the Nazis. At the end of the war, Krips returned to Vienna and immediately became actively involved in the reconstruction of cultural life in the city on the Danube. His artistic and organisational skills were in demand in post-war Austria when it came to re-establishing the Salzburg Festival.

The festive series of concerts to celebrate the inauguration of Andris Nelsons and the 275th anniversary of the Gewandhausorchester concluded with a riveting performance of two of music history’s great symphonic works. Mozart’s Symphony No. 40 is one of only two that Mozart wrote in a minor key, which only adds to its singular reception in his canon of symphonies. Tchaikovsky was an admirer of Mozart’s music and paired the premiere of his Sixth Symphony, which he himself conducted, with dances from Mozart’s 'Idomeneo'. The 'Pathétique' would become his legacy as Tchaikovsky died only a few days after its premiere.

Третий квартет отражает тему жизни и смерти – магистральную для многих поздних произведений Чайковского. Совсем иной по характеру секстет «Воспоминание о Флоренции», созданный на рубеже 1880–90-х годов. Разработка партии каждого инструмента в нем настолько искусна, а ансамблевое сочетание голосов столь богато, что кажется, будто звучит целый струнный оркестр. В обаятельной музыке слышны народнопесенные и танцевальные истоки – итальянские и русские. Несмотря на лирико-драматическую концепцию, общий колорит произведения – необычайно светлый, а финал – жизнеутверждающий. «Rusquartet» уже пятнадцать лет ведет концертную и просветительскую деятельность. Сегодня «Rusquartet» – один из лучших камерных ансамблей России. В его составе солисты, ранее выпускники, а ныне преподаватели Московской консерватории имени П.И.Чайковского. «Rusquartet» – лауреат международных конкурсов и постоянный участник международных фестивалей. В 2006 г. Одержал свою первую победу на Международном конкурсе в Германии (г.Райсберг); годом позже вошел в десятку квартетов со всего мира, отобранных специальным жюри для участия в Международном конкурсе струнных квартетов Банфф (Канада), став первым струнным квартетом из России. С этого же года «Rusquartet» является постоянным участником фестивалей в Канаде. В 2008 г. Победитель одного из престижнейших конкурсов мира - VIII Международного конкурса струнных квартетов им. Д.Д.Шостаковича, в том же году Международный союз музыкальных деятелей и Ассоциация камерной музыки присвоили квартету стипендию-грант им. Т. А. Гайдамович «За достижения в области камерно-ансамблевого исполнительства».

Russian composers have made a significant contribution to the repertoire of music for cello and orchestra. Tchaikovsky’s Variations on a Rococo Theme, deftly scored for an 18th-century orchestra, reveals his admiration for Mozart whereas the Pezzo capriccioso is full of ripe charm. In the year of Tchaikovsky’s death, Rimsky-Korsakov composed the attractive Serenade, Op. 37 and his student, Glazunov, both absorbed and continued the great Romantic lineage with his own sonorous and beautiful Concerto ballata, the poignant Chant du ménestrel, and the Iberian evocations of the Sérénade espagnole from Deux Morceaux.

Sueye Park introduced herself to the general public in 2017 with no less a calling-card than Paganini's 24 Caprices for solo violin. On the present disc, the South-Korean violinist (born in 2000) has a pianist at her side, namely Love Derwinger, himself known from a number of recordings. The repertoire is also a more varied offering this time, with violin favourites such as Elgar's tender Salut d'amour and Tchaikovsky's Mélodie, as well as more virtuosic fare, for instance in the fireworks of Wieniawski's Scherzo-Tarantelle. Sueye also includes two solo works on the disc: Ernst's much-loved Last Rose and in a nod to her previous disc Paganiniana, Nathan Milstein's fantasy on themes by Paganini. Performed with equal measures of poetic sensitivity and effortless virtuosity, this is a recital to dip into as well as to listen to from start to finish from the fiery passion of Pablo de Sarasate's Introduction et Tarantelle to Contemplation, Heifetz transcription of Brahms's song Wie Melodien zieht es mir.