Mussorgsky: Pictures At An Exhibition/Night on Bald Mountain /Khovanschina: Prelude / Sorochintsy Fair: Gopak
|Price:||CDN$ 17.81 & FREE Shipping on orders over CDN$ 25. Details|
Customers Who Bought This Item Also Bought
|1. Pictures At An Exhibition: Promenade|
|2. Pictures At An Exhibition: Gnomus|
|3. Pictures At An Exhibition: Promenade|
|4. Pictures At An Exhibition: Il vecchio castello|
|5. Pictures At An Exhibition: Promenade|
|6. Pictures At An Exhibition: Tuileries|
|7. Pictures At An Exhibition: Bydio|
|8. Pictures At An Exhibition: Promenade|
|9. Pictures At An Exhibition: Ballet des poussins dans leurs coques|
|10. Pictures At An Exhibition: Samuel Goldenberg und Schmuyle|
|11. Pictures At An Exhibition: Limoges: le marche|
|12. Pictures At An Exhibition: Catacombae|
|13. Pictures At An Exhibition: Cum mortuis in lingua mortua|
|14. Pictures At An Exhibition: Le Cabane sur des pattes de poule|
|15. Pictures At An Exhibition: La Grande Porte de Kiev|
|16. Prelude To Khovanschchina|
|17. Night On The Bare Mountain|
|18. Gopak from Sorochintsy Fair|
Valery Gergiev's absorbing traversal of Pictures at an Exhibition stresses composer Mussorgsky's elemental sensibility over Ravel's urbane orchestration. The conductor achieves this by encouraging the Vienna Philharmonic brass to play up their characteristically broad sonority, especially from the elemental choralelike writing in Catacombae until the concluding Great Gate at Kiev's shattering climax. Some of the conductor's rubatos, however, seem grafted on rather than genuinely felt, like the arch clarinet ritard in Tuileries and the overphrased string legatos that bog down The Old Castle's basic pulse. Philips' spacious sonics convey a palpable concert hall ambience (this is, after all, a live recording), yet lack the dynamic impact and vivid detail one still hears from the benchmark Reiner and Szell editions. As a result, Night on the Bare Mountain's swirling momentum sounds diffused and dramatically flat. The Khovanshina Prelude and Gopak, though, make delightful fillers. --Jed Distler
Top Customer Reviews
Selection of the fillers could have been more imaginitive, but they are played so well that they don't seem like mere fillers. The Prelude to Khovanschina is played much better then on Gergiev's older recording with the Kirov. The VPO strings play magnificently. The performance of The Night on the Bare Mountain is very brutal and robust. I didn't appreciate this piece that much before, but Gergiev renders it into a true orchestral spectacular.
A must for all Gergiev fans and I think everyone, who loves The Pictures must at least here this recording.
Most Helpful Customer Reviews on Amazon.com (beta)
As "Bydio" goes from mezzo forte to fortissimo, clarity isn't lost; the recording is faithful to each instrument, percussion, brass, strings.
Gergiev is able to bring emotion out in each piece, while not being overly histrionic or clowning. "Ballet des poussins dans leurs coques" is lightly pleasant next to the stately mournful "Goldberg and Schmuyle", for example. The chef d'oeuvre, "The Great Gates of Kiev", shows an incredible range of timbre, something Gergiev excels at, with the booming fortissimos at the outset fading to pianissimos and growing again in the refrain to fortissimos. One can certainly envision oneself admiring the painting from bottom to top, sensing oneself as a tiny human being next to this awesome manmade wonder.
"Khovanschina" is a proud part of Gergiev's repertoire, and he clearly enjoys presenting the lovely prelude here. Vienna, as usual, gives him what he wants.
"Night on Bare Mountain" evokes a cold stormy night in a mountain forest. Effectively. Wear your parka.
"Gopak" is sprite and merry. A wonderful dance tune; Gergiev and Vienna do it justice.
Gergiev once mentioned how honored he was to have been asked to be a guest conductor for the Vienna Philharmonic, because the musicians in that orchestra choose their guest conductors. They seem to have chosen well in this case, and for Mossourgsky, it seems a good fit.
The last formidable version of Pictures until this date came from 1973, with Igor Markevitch conducting the Gewandhaus of Leizpig (Belrin classics label, still available).
So, when I decided myself to listen this version something deep inside me told me I was going right. And my admiration was unlimited from the very beginning until the epic finale.
Valery Gergiev brought both the score and us, a memorable performance remarking passages of febrile incandescence, startling energy and histamine.
It's such the tonal musculature and the vibrant flair that results less than impossible to forget it. My whole impression matches with the most of the previous reviews. The Vienna Philharmonic proves once more the colossal prestige that always have featured it. Strings, woods, winds and metals play with such mastery and inexhaustible vigor responding so the exigencies of this extraordinary conductor.
A well rounded recording and the most flaming version of the Pictures recorded in the last 35 years, neither more nor less.
Look for similar items by category
- Music > Classical > Ballets & Dances > Dances
- Music > Classical > Forms & Genres > Suites
- Music > Classical > Forms & Genres > Symphonies
- Music > Classical > Forms & Genres > Theatrical, Incidental & Program Music
- Music > Classical > Historical Periods > Classical (c.1770-1830)
- Music > Classical > Symphonies
- Music > Opera & Vocal > Historical Periods > Classical (c.1770-1830)
- Music > Opera & Vocal > Languages > Russian