Stravinsky: Duo Concertant

Editorial Reviews

All Music Guide - James Manheim
The Naxos label has earned justifiable praise for its ongoing series of Stravinsky recordings under Robert Craft, the conductor who introduced a good deal Stravinsky's music to the public. He also introduced much of the music of the Second Viennese School to Stravinsky, who was persuaded to jump onto the serialist bandwagon late in life. Craft's rather dry, deliberate readings quite resemble those in the Stravinsky recordings he made in the 1950s and 1960s, and the general level of craft achieved by a conductor aged 85. This said, the program here has an odds-and-ends feel, mixing neo-classic works from the 1930s and 1940s and serialist works from the 1960s that have been...
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Editorial Reviews

All Music Guide - James Manheim
The Naxos label has earned justifiable praise for its ongoing series of Stravinsky recordings under Robert Craft, the conductor who introduced a good deal Stravinsky's music to the public. He also introduced much of the music of the Second Viennese School to Stravinsky, who was persuaded to jump onto the serialist bandwagon late in life. Craft's rather dry, deliberate readings quite resemble those in the Stravinsky recordings he made in the 1950s and 1960s, and the general level of craft achieved by a conductor aged 85. This said, the program here has an odds-and-ends feel, mixing neo-classic works from the 1930s and 1940s and serialist works from the 1960s that have been part of the textbooks ever since, but have never really held the concert stage. The chief attraction, given large print on the packaging, is the "Duo Concertante for violin and piano," composed in 1932 and evidencing a typically tense relationship with classical forms. The violin and piano trade places in the dominant role several times over the course of the work, and Stravinsky also introduces rhythmic shifts that seem to approach the metrical modulation technique from later in the 20th century. One gets the feeling that the piece, although firmly in the main line of Stravinskian neo-classicism, suggests experimental ideas that the composer never fully developed. It's not clear what Craft's contribution to the chamber performances on the album might have been. Another unusual find here is the "Bluebird Pas de deux," an arrangement of a passage from Tchaikovsky's "Sleeping Beauty" with the very Stravinskian addition of a piano. The "Sonata for two pianos" 1944 is a less imposing work than might be imagined, having been pieced together from several projects underway during Stravinsky's first years in the U.S. The "Requiem Canticles" 1966 and "Abraham and Isaac, a sacred ballad for baritone and chamber orchestra" 1963 are prime examples of Stravinsky's late-life attempt to mold serialism to his own style, often with religious content. They're rather ponderous works, although with the composer's characteristic economy, and the listener is required to make quite a lurch from the rest of the program. Still, one feels that Craft is especially at home here with his deliberate, precise style. Craft's series may be aimed primarily at longtime Stravinsky buffs, but they will find many items of interest here.
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Product Details

  • Release Date: 4/26/2011
  • Label: Naxos
  • UPC: 747313253227
  • Catalog Number: 8557532
  • Sales rank: 182,648

Tracks

Disc 1
  1. 1–5 Duo Concertante, for violin & piano - Igor Stravinsky & Robert Craft (16:35)
  2. 2 Sonata for 2 pianos - Igor Stravinsky & Robert Craft (10:51)
  3. 9–17 Requiem Canticles, for 2 vocal soloists, chorus & orchestra - Igor Stravinsky & Sally Burgess (15:11)
  4. 10 Abraham and Isaac, sacred ballad for voice & chamber orchestra - Igor Stravinsky & Robert Craft (13:46)
  5. 11 Elegy, for viola (or violin) solo - Igor Stravinsky & Robert Craft (5:18)
  6. 20–23 Bluebird Pas-de-deux, transcription for chamber orchestra (after Tchaikovsky: Sleeping Beauty) - Peter Ilich Tchaikovsky & Igor Stravinsky (5:42)
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Album Credits

Performance Credits
Robert Craft Primary Artist
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