 |
|
:freu:
thanks to original releaser, thanks to my friends :beer:
thanks to original releaser, thanks to my friends :beer:
| TRACKLIST |
| 1. Scythian Ste, Op. 20: 1. Invocation To Veles And Ala Reinhören Reinhören 2. Scythian Ste, Op. 20: 2. The Evil God And Dance Of The Pagan Monsters 3. Scythian Ste, Op. 20: 3. Night 4. Scythian Ste, Op. 20: 4. Lolli's Pursuit Of The Evil God, And Sunrise 5. Ste From 'The Love For Three Oranges,' Op. 33a: 1. Les Ridicules 6. Ste From 'The Love For Three Oranges,' Op. 33a: 2. Scene Infernale 7. Ste From 'The Love For Three Oranges,' Op. 33a: 3. Marche 8. Ste From 'The Love For Three Oranges,' Op. 33a: 4. Scherzo 9. Ste From 'The Love For Three Oranges,' Op. 33a: 5. Le Prince Et La Princesse 10. Ste From 'The Love For Three Oranges,' Op. 33a: 6. La Fuite 11. Sym No. 5, Op. 100, 1: Andante 12. Sym No. 5, Op. 100, 2: Allegro Marcato 13. Sym No. 5, Op. 100, 3: Adagio 14. Sym No. 5, Op. 100, 4: Allegro Giocoso |
The Russian mood!, October 11, 2005
By Hiram Gomez Pardo (Valencia, Venezuela)
Perhaps the London Symphony has been through the musical history, the ensemble with much power of understanding and even more adaptation and ability to listen the indications of any conductor.
Personalities of the remarkable stature such Victor de Sabata, Leoplod Stokowski, Adrian Boult, Jasha Horenstein, Istvan Kertesz, Lorin Maazel, Anatole Fistulari, Andre Previn and in the case which occupies Antal Dorati could mold without any problem or prejudice, their approach. Such learning process conferred of an admirable sense of vertiginous adaptability with notable results.
Having played under Dorati `s conduction must have been a gratifying experience, making an objective judge according the obtained results. He, literally made the orchestra became in a crowd of brave Cossacks; his reading was far beyond a musical feat. His process of leadership must have been so effective that permeated every single note, the accent of every accent, the gesture and the intention of the composer appears so brightly exposed all work.
If Scythian Suite is played with extremely fast tempo specially in the introduction, he gets involve us in the mood after brief minutes. His performance of the Suite is simply a majuscule achievement. Bitterness and irony load all the hall and your mood. The special wildness which conducts the Russian Heroic Prokoviev 's Fifth is an aspect that remains as perpetual statement of his craft.
After listening Dorati I keep thinking what 's happening with the modern performances that sin of civilized and quite perfumed, without that wild and barbarian playing that demand all those mentioned works. Obviously there has been a paradigmatic change: have the conductor 's role or perhaps the audiences at the moment to play?.
Thanks to the digital Technology, these documents will remain as unbeatable proof that in some moment the connection with the dark side of the unconscious world, simply turned off: and that is a real tragedy.
Go for these records my kinder. You will understand what Dorati meant in those times and how he ranked and elevated so visibly the performing standard of this orchestra: Minneapolis, and how he made transform temporally this majestic London Symphony in Russian Cossacks.
