Igor Markevitch: Orchestral Works, Vol. 7

> Piano Concerto - I. Allegro vivace
> Piano Concerto - II. Andante
> Piano Concerto - III. Allegro risoluto
> Cantate - Allegro risoluto
> Cantate - Lento sostenuto
> Cantate - Allegro risoluto
> Cantate - Choral: Lent et soutenu
> Icare - Prelude: Molto tranquillo
> Icare - Eveil de la Connaissance (Awakening of Knowledge)
> Icare - Icare et les Oiseaux (Icarus and the Birds)
> Icare - Les ailes d'Icare (Icarus' wings)
> Icare - Envol d'Icare (Flight of Icarus)
> Icare - Ou l'on retrouve les ailes d'Icare (Where Icarus' wings are found)
> Icare - Mort d'Icare (Death of Icarus)

Album Summary

>Markevitch, Igor : Piano Concerto
>Markevitch, Igor : Cantate, for soprano, male chorus & orchestra
>Markevitch, Igor : Icare, for orchestra (revised version)
Performers Conductor Ensemble
  • >
Composer

Notes & Reviews:

Igor Markevitch’s extraordinary precocity as a composer is startlingly revealed in this seventh volume of his complete orchestral music. The energy, invention and sheer expressive élan of his Piano Concerto, written at the tender age of sixteen, mark it as a work of amazing maturity. Cantate sets a text by Jean Cocteau to music originally commissioned by the Ballets Russes. Icare is likewise the reworking of another abandoned Ballets Russes project, L’envol d’Icare, which can be heard on NXS 8572153(Volume 3).

Fanfare
Naturally in such a revision, there were numerous changes of orchestration. The original version may be heard, and compared, on Vol. 3 in this series (Naxos 8.672153). As Christopher Lyndon-Gee puts it in his notes, this particular reworking resulted in "an utterly different, completely valid work. Though the surface distinctions are almost imperceptible... the internal rethinking of the work is profound." Here we completely abandon comparisons with Stravinsky; this work is more like Messiaen or Ligeti. Transparent shards of orchestral light vie for attention, intermix, and overlay one another. Markevitch might indeed have removed the instruments pitched a quarter-tone high, but there is a great deal of microtonalism going on here nonetheless. Of course, all these innovations would be for naught if the music didn't say something, and this score is moving as well as complex, like Messiaen's Turangalila Symphony, another work of the 1940s that took decades for audiences to understand. The piece dies away to a quiet finish. This is a remarkable disc.

Notes & Reviews:

Recording information: Musis Sacrum, Arnhem, The Netherlands.



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Works Details

>Markevitch, Igor : Piano Concerto
  • Performer: Martyn Van Den Hoek (Piano)
  • Conductor: Christopher Lyndon-Gee
  • Notes: Musis Sacrum, Arnhem, The Netherlands (04/15/1998/04/17/1998)
  • Running Time: 15 min. 16 sec.
  • Period Time: Modern
  • Form: Concerto
  • Written: 1928

>Markevitch, Igor : Cantate, for soprano, male chorus & orchestra
  • Performer: Nienke Oostenrijk (Soprano)
  • Conductor: Christopher Lyndon-Gee
  • Notes: Musis Sacrum, Arnhem, The Netherlands (04/14/1998-04/17/1998)
  • Running Time: 23 min. 28 sec.
  • Period Time: Modern
  • Written: 1929

>Markevitch, Igor : Icare, for orchestra (revised version)
  • Conductor: Christopher Lyndon-Gee
  • Notes: Musis Sacrum, Arnhem, The Netherlands (04/14/1998-04/17/1998)
  • Running Time: 24 min. 10 sec.
  • Period Time: Modern
  • Written: 1943-1944