TACET216 史特拉汶斯基鋼琴作品集 / 柯洛里奧弗 Igor Stravinsky Koroliov Series Vol. XVII / Evgeni Koroliov
Igor Stravinsky :Le sacre du printemps & other piano works / Duo Koroliov, piano
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0216-0 CD The Koroliov Series Vol. XVII ... L'on y danse … Igor Stravinsky Le sacre du printemps & other piano works Duo Koroliov, piano EAN/barcode: 4009850021605 史特拉汶斯基是二十世紀最偉大也最多才多藝的作曲家，當時音樂、藝術、文學、戲劇，以及繪畫等領域的創作者無不受到他的影響。雖然他的鋼琴作品並不知名，但鋼琴卻是他最早學習的樂器，而且他創作時也都是以鋼琴為基礎，1920年代他甚至轉型成專職的鋼琴家，巡迴演出自己的作品。這張專輯除了｢探戈舞曲｣是由柯洛里奧弗改編之外，其他都是作曲家的原創作品或親自改編，其中「春之祭」還是現場錄音，更顯得異常珍貴。 曲目: CD1 Trois pieces faciles pour piano a trois mains 1. Marche 2. Valse - Trio 3. Polka 4. Tango Three pieces for quarter arranged for piano dute by the composer 5. I 6. II 7. III Le sacre du printemps. 8. Introduction 9. Les augures printaniers. Danses des adolescentes 10. Jeu du rapt 11. Rondes printanieres 12. Jeux des cites rivales 13. Cortege du sage 14. Le sage 15. Danse de la terre 16. Introduction 17. Cercles mysterieux des adolescentes 18. Glorification de l’elue 19. Evocation des ancetres 20. Action rituelle des ancetres 21. Danse sacrale (l’elue) Cinq pieces facile pour piano a quatre mains 22. 1 Andante 23. 2 Espanola 24. 3 Balalaika 25. 4 Napolitana 26. 5 Galop 27. Piano-Rag-Music for piano solo |
| 官方介紹:
Evgeni Koroliov has barely returned from the International Classical Music Award ceremony in Ankara and already there is more news from him to announce! On the 100th anniversary of Stravinsky's Rite of Spring, the composer's piano arrangement appears, once again on the TACET label, alongside smaller works, mainly for piano-four-hands, played by Koriolov with his partner, Ljupka Hadzigeorgiewa. After Koroliov received the ICMA for his recording of Schubert Sonatas, he and his wife were finally able to lose the label of "Bach player", which has clung to him ever since György Ligeti made his "Desert Island Disc" comment. This piano version of the Rite exposes aspects of the work that can communicate something new to even the most dyed-in-the-wool fans of the orchestral version. Structures that are absorbed into the dominant tone colours of the orchestral instruments display a quite different balance, and compositional details that, until now have not been apparent, are opened up. The rhythmic drive takes on a new note through the percussive character of the piano's sound and, in the subtle phrasing of the Koroliov's, the lyrical elements take on a surprising colouring. |
