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 year before Cocteau passed away, he still had the full strength of his famous actor's voice, and he and the other voice artists strike the perfect tone of tragicomic cabaret effect. Musically superb, sounding fresh and vigorous, and benefitting from left-right separation and depth in stereo even though dating back to 1962.
There are some very pleasant surprises here. Not all of this music is top-drawer Tchaikovsky, but the composer also wrote what can only be called very good "bad music." In other words, if something's lacking in melodic charm or formal sophistication, he usually hides it behind a higher-than-average orchestral excitement and hysteria quotient. Fatum is a perfect example: it's slow to get going, but before you know it it's slamming you through the roof on its way to a rousing conclusion, and your overwhelming impression is that you've had a very good time. This may be the weakest work on the disc–all of the others are very good, and a bunch are masterpieces, so if you want all of the Tchaikovsky tone poems in one bargain set, this is a good pick.
The last three symphonies remain for many listeners the ultimate expression of musical romanticism. Their gorgeous tunes, luscious orchestration, and huge emotional range tempt many interpreters to extremes of musical excess– but not Igor Markevitch. These brilliantly played, exceptionally precise performances let the hysteria speak for itself, while focusing on the music's architectural strength. The results are uncommonly exciting, supple, and above all sensitive to the music's many beauties. Having withstood the test of time, and at two discs for the price of one, this might very well be a first choice for newcomers and collectors alike. Excellent recorded sound too.
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.