Hi again. I hope you enjoy this extraordinary recording on Stravinsky's Le sacre, one of the top range despite is 50 years old! The Prokofiev's are great too incluidng the less recorded suite of Le Pas d'acier.
The longest work on this CD is Psaume, written by the 21 year old Igor Markevitch, who stopped composing rather young in favour of a successful carreer as conductor. Next to this work Psalms by Zemlinsky, Bloch and Korngold are recorded.
Dimitry Markevitch (1923 - 2002) was a Russian concert cellist, researcher, teacher and musicologist. He studied under Gregor Piatigorsky and founded the Institut de Hautes Etudes Musicales (IHEM) in Switzerland. His brother, Igor Markevitch, was an orchestral conductor.Markevitch rediscovered several important manuscripts, including Westphal and Kellner transcriptions of several Bach Suites, and published his own edition of the Suites, playing all six in recital at Carnegie Hall in New York in 1964. He was one of the first people to champion "authentic" instrumental techniques and played a baroque cello for pieces composed before the 19th century.
A limited-edition 55-CD set of legendary and critically acclaimed recordings celebrating the famous PHILIPS heritage. An alliance of great artistry and superb sound. Classic-status albums spanning over half a century of recording and showcasing a wealth of international talent.
An unrivaled collection that that embraces all musical genres - from solo piano and chamber music through to large scale choral works and opera.
We're talking the mid-1950s when Germany was working her fingers to the bone and trying to reconcile herself with a huge collective guilt. Musical standards were uncommonly high and DG's chosen selections attest to the highest levels of care and devotion. Rehearsals were plentiful, stretching to 22 hours spread over six days for Igor Markevitch's Berlin Philharmonic "Symphonie fantastique". Few versions have married temperament and formal argument as successfully, the sudden rushes of adrenalin used to intensify rather than distort Berlioz's endless melodic lines. Some of these recordings have been hugely influential, Furtwängler's passionate yet malleable Schumann No. 4 for example. Jochum's Mozart is supplemented by his deeply devotional and occasionally raging Bruckner Ninth, while in addition to Berlioz, Markevitch offers us perceptive early Schubert (the sorrowful opening of the Fourth is unforgettable) and Bizet's witty suite "Jeux d'entfants". There's a slowbreathing Beethoven Second under Kurt Sanderling, a stolid pairing of Symphonies Nos. 5 and 7 and a beefy Brahms Second from Karl Böhm, and a thoughtful trio of Haydn symphonies (Nos. 44, 94 and 98) under Ferenc Fricsay. But the gem of the collection, where pondered musicianship and painstaking preparation reach the same exalted goal, is Fritz Lehmann's selection from Schubert's "Rosamunde" . . . It's style through and through – as music, performance and presentation, a superb production, hopefully to be followed by a second volume.Record Review / Rob Cowan, Independent (London)
The first comprehensive edition containing the entire of Clara Haskil's recordings for the Decca, Philips, Deutsche Grammophon and Westminster labels. The 17-CD set is released to mark the 50th anniversary (6 December 1960) of the death of the great Romanian-born pianist. The accompanying booklet also includes an infrormative article on Haskil "A prodigy of nature" by piano specialist Jeremy Siepmann.
Romanian pianist Clara Haskil began her career as a child prodigy at the Bucharest Conservatory under Richard Robert at age 7, making her debut at the age of 10. Haskil ultimately graduated from Alfred Cortot's class at the Paris Conservatoire at 15 with the Prémier Prix to her credit. By the age of 18, however, Haskil was forced to endure the first of many physical setbacks that would hold back her career, in this case an attack of meningitis that kept her in a body cast for four years. Haskil did recover, making her New York debut in 1924 and her London debut in 1926.