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Musique symphonique - Released April 26, 2013 | Sony Classical

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Leonard Bernstein's 1958 recording of Igor Stravinsky's Le Sacre du printemps with the New York Philharmonic is ranked among the most exciting renditions ever recorded. Indeed, Stravinsky was sufficiently impressed with this recording to exclaim, "Wow!" Additionally, it was one of the best sounding stereo versions available on a major label. Reissued by Sony for the centennial of the ballet's notorious 1913 premiere in Paris, Bernstein's legendary performance has been remastered from the original analog tapes, and though there is occasional background noise and tape hiss in exposed passages, nothing essential seems to have been lost in the transfer to digital. Some things sound better than others: the undulating chords of the Introduction to Part II have rarely sounded this full and rich, the eruptions in Glorification de l'élue are shockingly vivid, and the Danse sacrale is pungent and incisive. However, the percussion is surprisingly thin in spots in Part I, with the timpani often sounding more prominent than the bass drum, and the entire battery is somewhat underwhelming in the Danse de la terre. There are many all-digital CDs and SACDs that offer superior audio, especially in terms of a wider dynamic range and acoustic resonance, and even acknowledging the excellence of this recording for its time, Columbia didn't have the technology to match today's state-of-the-art audio. All the same, Bernstein certainly gets the orchestra to play in top form, and his elastic tempos in the slow sections and driven pacing in the fast ones keep the listener spellbound. There are no perfect recordings of Le Sacre du printemps, but it's easy to see why this one has stood the test of time and become a favorite of many.
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Classique - Released October 26, 2018 | Sony Classical

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Ever since he was a boy, Pink Floyd's bassist Roger Waters has been haunted by his father's death in the Second World War. His writing would always bear the imprint of this trauma, in particular on The Wall (1979), The Final Cut (1983) – dedicated to his father – and Amused to Death (1992). This story of a poor soldier who sold his soul to the devil must have struck a chord with him.The product of the vagaries of the Great War and the friendship between composer Igor Stravinsky (later exiled in Switzerland), the writer Charles-Ferdinand Ramuz and conductor Ernest Ansermet, The Soldier's Tale, was based on one of Afanasyev's Russian folk tales, but adapted in the Canton of Vaud by Ramuz, in whose hands it became a universal parable. Stravinsky wrote a very sparse score for seven instruments (violin, double bass, clarinet, bassoon, cornet, trombone and percussion) which demanded real virtuosity from the musicians. One hundred years after its first outing on 28 September 1918 in Lausanne, The Soldier's Tale is continuing its march across the globe. On this album, rock legend Roger Waters is the sole narrator in his own adaptation, which is based on translations by Michael Flanders and Kitty Black. He takes on the three roles himself, with seven excellent musicians from the Bridgehampton Chamber Music Festival. For Waters, this latest work is simply the next logical step, given his musical research and his political stance, in particular his support for Palestine and his fight against Trump. © François Hudry/Qobuz
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Musique symphonique - Released November 14, 1994 | Sony Classical

Distinctions The Qobuz Ideal Discography - Golden Oldies
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Classique - Released October 9, 2015 | Sony Classical

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In describing his interpretation of Igor Stravinsky's Le Sacre du printemps, Teodor Currentzis emphasizes the essential Russian origins of the music, and points out the folk influences that give it its cultural resonance. This is indeed the case, since the Russian and Lithuanian folk songs that Stravinsky used have been identified, and the score overflows with themes and melodic fragments that evoke an ancient tribal culture. This is perhaps the reason so much of this elastic performance of Le Sacre du printemps feels like a melodically based interpretation, rather than a sharp, rhythmic exploration, with more attention paid to articulation and phrasing than to accentuation and rhythm. While Currentzis and Musica Aeterna produce punchy moments in the expected places, they tend to slacken in subdued sections and deprive the work of the overwhelming drive and ruthless violence it needs. Opinions may vary over Currentzis' melodic approach, mainly in Part I, though from the Glorification de l'Élue to the Danse Sacrale in Part II, the orchestra kicks into gear and produces the necessary propulsion and volatility to make a convincing ending.
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Classique - Released October 30, 2015 | Sony Classical

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Classique - Released October 27, 2017 | Sony Classical

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Classique - Released April 1, 2016 | Sony Classical

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Classique - Released April 1, 2016 | Sony Classical

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Classique - Released April 1, 2016 | Sony Classical

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Classique - Released April 1, 2016 | Sony Classical

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Classique - Released December 1, 2017 | Sony Classical

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Musique symphonique - Released June 19, 2009 | Sony Classical

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Classique - Released April 1, 2016 | Sony Classical

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Classique - Released April 1, 2016 | Sony Classical

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Classique - Released August 24, 2018 | Sony Classical

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Classique - Released April 19, 1988 | Sony Classical

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Classique - Released April 1, 2016 | Sony Classical

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Classique - Released February 22, 1991 | Sony Classical

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Classique - Released April 1, 2016 | Sony Classical

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Classique - Released April 1, 2016 | Sony Classical

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