Markevitch

Igor Markevitch was a leading conductor, known for brilliant performances, especially of twentieth century music. He was also a composer who attracted some interest in his own day. His parents left Kiev when he was two years old. Markevitch was brought up in Vevey, Switzerland. He took piano lessons from his father and then with Paul Loyonnet and also started to compose.

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.

Felix Mendelssohn (Composer), Pyotr Tchaikovsky (Composer), Franz Schubert (Composer), Georges Auric (Composer), Igor Markevitch (Conductor), Japan Philharmonic Orchestra (Orchestra)

Markevitch Conducts Stravinsky and Prokofiev's Ballets (EMI)
EAC 099pb4 Rip | APE+CUE, LOGs | 2 CD | 72:18 + 75:28min
557 MB | 300 dpi PDF Complete Scans
Genre: Classical - 20th Century | Label: EMI Classics

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.

Dimitry Markevitch - Bach: Six Suites For Cello Vol 1 (1992)
EAC Rip | FLAC+CUE+LOG | 282 MB | no scans
MP3 CBR 320kbps | 158 MB
Baroque Cello | Label: Gallo | 69:12

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.

n these days of big boxes, DG really ought to gather together everything Markevitch did and issue it as a set. He was a genius, and his recordings with the Lamoureux Orchestra, especially, combine interpretive brilliance with a classic French instrumental style that no longer exists. They are irreplaceable, and the playing here is amazing. Rimsky-Korsakov’s music demands just the sort of diamond-like precision and clarity that was Markevitch’s stock in trade as a conductor. There are more raucous, more traditionally Russian versions of The Golden Cockerel Suite available (Järvi’s for example), but none that point up the music’s anticipations of Stravinsky so compellingly. Both here and in the May Night Overture, Rimsky-Korsakov becomes a prophetically modern master.