查看完整版本 : Denis Matsuev: Stravinsky: Petrouchka / Tchaikovsky: The Seasons

bravo998 2010-9-12 04:37 PM

Denis Matsuev: Stravinsky: Petrouchka / Tchaikovsky: The Seasons


[b]Stravinsky[/b]: Three movements from Petrouchka
[b]Tchaikovsky[/b]: The Seasons
[size=3]Denis Matsuev[/size]


Igor Stravinsky - Three Movements From Petrouchka,
1. Movement From Petrouchka: Danse Russe
2. Movement From Petrouchka: Chez Petrouchka
3. Movement From Petrouchka: La Semaine Grasse
P.I.Tchaikovsky - The Seasons
4. The Seasons, Op.37b: January - By The Fireside
5. The Seasons, Op.37b: February - Carnival
6. The Seasons, Op.37b: March - Song Of The Lark
7. The Seasons, Op.37b: April - Snowdrop
8. The Seasons, Op.37b: May - White Nights
9. The Seasons, Op.37b: June - Barcarole
10. The Seasons, Op.37b: July - Song Of The Reaper
11. The Seasons, Op.37b: August - The Harvest
12. The Seasons, Op.37b: September - The Hunt
13. The Seasons, Op.37b: October - Autumn Song
14. The Seasons, Op.37b: November - Troika
15. The Seasons, Op.37b: December - Christmas

[url=http://www.amazon.com/Stravinsky-Movements-Petrouchka-Tchaikovsky-Seasons/dp/B000EHPY1O][size=4]BUY CD[/size][/url]

1 disc | MP3 VBR | 92.64MB | 56:29

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滿意者請購買正版 CD[/color][/size]

bravo998 2010-9-12 04:44 PM

Denis Matsuev


Denis Leonidovich Matsuev (Дени́с Леони́дович Мацу́ев)
b. June 11, 1975

Denis Matsuev has become a fast-rising star on the international concert stage since his triumphant victory at the 11th International Tchaikovsky Competition in Moscow in 1998, and is quickly establishing himself as one of the most sought-after pianists of his generation.

Mr. Matsuev has appeared in hundreds of recitals the most prestigious and legendary concert halls throughout the world.

Mr. Matsuev collaborating with the world's best known orchestras, such as the New-York Philharmonic, Chicago Symphony, Berlin Philharmonic Orchestra, London Symphony, London Philharmonic, Leipzig Gewandhaus Orchestra, Bavarian Radio Symphony, National Symphony, Pittsburgh Symphony, Cincinnati Symphony, WDR Symphony Cologne, BBC Symphony, Philharmonia orchestra of London, Royal Scottish National Orchestra, Filarmonica della Scala, Orchestre National de France, Orchestre de Paris, Orchestre Philharmonique de Radio France, Orchestre National du Capitole de Toulouse, Budapest Festival Orchestra, Rotterdam Philharmonic, and the European Chamber Orchestra; he is continually re-engaged with the legendary Russian orchestras such as the St. Petersburg Philharmonic, the Mariinsky Orchestra and the Russian National Orchestra.

Denis Matsuev appears regularly with the most prominent conductors on the stage today, including Lorin Maazel, Valery Gergiev, Zubin Mehta, Mariss Jansons, Yuri Temirkanov, Kurt Masur, Semyon Bychkov, Paavo Jarvi, Leonard Slatkin, Myung-Whun Chung, Antonio Pappano, Ivan Fischer, Gianandrea Noseda, Jukka-Pekka Saraste, James Conlon, Vladimir Spivakov, Mikhail Pletnev, Vladimir Fedoseyev, Tugan Sokhiev and others.


Mr. Matsuev is a frequent guest of World's famous musical festivals such as Ravinia Festival in the United States, BBC Proms in Great Britain, Schleswig-Holstein, Rheingau, Leipzig's Mendelssohn and Schumann Festival in Germany, Chopin Festival in Poland, Maggio Musicale Fiorentino and Mito Festival in Italy, Les Choregies d'Orange and Festival de la Rogue d'Antheron in France, Verbier and Montreux Festivals in Switzerland, Enescu Festival in Romania, Budapest Spring Festival in Hungary and Stars of the White Nights Festival in Russia.

Highlights of upcoming season include appearances with the Berliner Philharmoniker and London Symphony Orchestra with Valery Gergiev, Orchestra and Choir of the Maggio Musicale Fiorentino under Zubin Mehta, Orchestre de Paris and Frankfurt Radio Symphony Orchestra with Paavo Jarvi, Pittsburgh Symphony Orchestra with Gianandrea Noseda, Vienna Symphony Orchestra with Adam Fischer, Orchestra National de France with Kurt Masur and Accademia Nazionale di Santa Cecilia with Antonio Pappano.

Mr. Matsuev will tour with the Mariinsky Orchestra in the United States with Valery Gergiev, with the Orchestre de Paris in France and Spain with Paavo Jarvi, with the St. Petersburg Philharmonic Orchestra with Yuri Temirkanov in China and with Accademia Nazionale di Santa Cecilia with Antonio Pappano in Italy and Romania.

Denis Matsuev also will appear with recitals at most prestigious concert halls of North America, Gewandhaus in Lepzig, Theatre des Champs Elysees in Paris among others.

In December 2007, Sony BMG released a disc featuring Mr. Matsuev entitled Unknown Rachmaninoff, which has received strong positive reviews praising his execution and creativity.

Denis Matsuev's recital at Carnegie Hall in November 2007 was recorded and will be released in 2009 as an album entitled Denis Matsuev - Concert at Carnegie Hall. The New York Times praised his performance, writing, “…his poetic instincts held fast in tender moments, with trills as thrillingly precise as one might ever hope to hear.”

In December 2009, the new Mariinsky Label will release Rachmaninoff Concerto No. 3, which Denis Matsuev recorded with Valery Gergiev and the Mariinsky Orchestra in the Mariinsky Concert Hall in St. Petersburg, Russia.

Over the past three years, Denis Matsuev has collaborated with the Sergei Rachmaninoff Foundation and its president Alexander Rachmaninoff, the grandson of the composer. Mr. Matsuev was chosen by the Foundation to perform and record unknown pieces of Rachmaninoff on the composer's own piano at the Rachmaninoff house “Villa Senar” in Lucerne. This unique program has been in high demand around the world.

After his triumphal appearance at Queen Elizabeth Hall in London, Michael Church of The Independent wrote: “Matsuev spent the first half of his concert proving he had an artistic hot-line to his great predecessor… He has the rare gift of letting notes expand in a surrounding stillness.”


In October 2008, at the personal invitation of Alexander Rachmaninoff, Denis Matsuev was named Artistic Director of the Sergei Rachmaninoff Foundation. As part of this partnership, he will perform in a series of gala concerts in some of the most prestigious concert halls throughout Europe and the United States.

Mr. Matsuev is Artistic Director of three important International Festivals: Annecy Festival Estival & Academies in Annecy, France, “Stars on Baikal” in Irkutsk, Siberia, and “Crescendo,” a series of events held in many different international cities, such as Moscow, St. Petersburg, Yekaterinburg, Tel Aviv, Kaliningrad, Paris and New York City.

These remarkable festivals present a new generation of students from Russia's music schools by featuring gifted Russian soloists from around the world performing with the best Russian orchestras. The “Crescendo” festival has had incredible resonance in Russia and is under the patronage of the President of the Russian Federation. Additionally, Mr. Matsuev is the president of the charitable Russian foundation “New Names.”


Official website:

bravo998 2010-9-12 04:47 PM


Pianists who love their Tchaikovsky symphonies and other orchestral works have to face the fact that his extensive solo writing for their instrument never produced anything quite on that level. In reality, once allowance has been made for what his solo piano music is not, a good deal of it is attractive, characteristic and even inspired. To a greater degree, I would say, than in the case of Dvořák or Sibelius, where a similar sort of situation exists. Even so, exaggerated claims are likely to arouse disappointment in the listener. The accompanying booklet states that the twelve pieces of “The Seasons” contain “music of subtle melancholy, profound poetry and great diversity which rates the pieces among the most important Romantic piano cycles”, and so implicitly among those of Schumann or Liszt. This claim is hardly supported by what we hear. In truth Tchaikovsky wrote the cycle for a Russian magazine which asked him for a piece to illustrate each month. He apparently accepted the commission so casually that he asked his servants to remind him a few days before the end of the month that a piece was to be written He thereupon sat down and dashed it off. September seems to have got him with his trousers down, producing a Hunting Song that is amazingly conventional and threadbare in invention, especially when we remember what Mendelssohn had achieved in this line. Had it been penned by Mackenzie or Cowen, it would have been seized upon as damning evidence that the Land Without Music was deservedly so named. The fact that it happens to be by Tchaikovsky doesn’t make it any better.

November, on the other hand, inspired the delightful “Troika”. This was for long a popular encore piece, as is witnessed by the fact that Rachmaninov made no fewer than two recordings of his somewhat odd interpretation. Also “June” produced a “Barcarole” full of piquant counterpoint which was much appreciated by our grandfathers. The “Autumn Song” (October) opens up vistas of desolate wastes while the “Song of the Lark” (March) has something of the melancholy of the “Canzonetta” of the Violin Concerto. “Snowdrop” (April), too, mingles compassion with elegance and could easily have found a place in one of the great ballets. The faster pieces find the composer more on automatic pilot but if you don’t expect to be overwhelmed you will be entertained and occasionally moved.

I’ve been moaning a bit lately about pianists who don’t separate the different strands of the texture by varying their tone colours. I’ll say at once, then, that Matsuev has his pianistic house fully in order from that point of view. Melodies, counter-melodies and accompaniments are all heard in their right proportions. At first I thought he was going to be a spontaneous but unduly interventionist guide, but “Carnival” (February) and the other faster pieces show that he can play with rhythmic grip when needed. I much preferred his lilting “Barcarole” to Richter’s lugubrious affair. Doubts only came in the last three. The “Autumn Song” has been known to yield up more bleak tension and I regret that he has chosen to ape Rachmaninov’s antics in “Troika”. This means playing the opening part “Andante lugubre” instead of the written “Allegro moderato”, speeding up to a good, lively tempo in the middle and then alternating two tempi in the last part. There’s a fast tempo when the original theme is accompanied by “snowy” semiquavers, then he goes back to the lugubrious one when those stop. People are going to get the idea that Tchaikovsky didn’t know what he was doing. Even Richter makes a strange compromise between what Rachmaninov did and what Tchaikovsky wrote, and yet the piece sounds absolutely charming if played as written.

The cycle ends with a Christmas waltz which has been made to sound full of seasonal joy but here emerges strangely subdued. The static middle section, though, is seemingly a blip in Tchaikovsky’s own inspiration and I doubt if anyone could save it. The question whether these lapses, measured against some notable successes, amount to a recommendable “Seasons” falls by the wayside in view of what happens in “Petrushka”.

It is clear by now that Matsuev is a pianist with a fine control of sonority and he is unfazed by Stravinsky’s extreme demands. His textures can be magical at times. The trouble is, he seems to think he is playing Liszt. Just to give one example, at the change to A major on p.6 of the “Danse Russe” he makes a notable rallentando, where none is written, so as to create a soft, delicate, Debussian quality. All through he applies a sort of rhythmic flexibility which recomposes the music in an unduly romantic light. We know very well from Stravinsky’s writings that this sort of thing was anathema to him even in romantic music. His own recordings of his music, as well as those of musicians we know he admired such as Monteux and Ansermet, leave no doubt of the importance of rhythm and dance movement in performing his music.

However, any residual respect for the performance goes completely out of the window when the pianist makes a whacking great cut in the last movement, from p.35, line two, to the più mosso on p.37. Ours is an age when traditional cuts are being opened out, when long-omitted repeats are being increasingly observed and when opera recordings often come with supplements of alternative arias etc. It seems all the more incredible, therefore, that anyone can even dream of hacking bits out of a composer who knew exactly what he wanted, like Stravinsky. And if Matsuev really must demonstrate the superiority of his own genius over that of Stravinsky by rewriting his music, the potential buyer could at least be told – the word “abridged” in the header was added by me. To sell something as implicitly complete when it is not is tantamount to misleading the public. I really wish that somebody one day with money to burn (that rules me out!) and a taste for legal battles would bring a test case. In the meantime, the least we can do is not to buy the record.

Reviewed by:
Christopher Howell
MusicWeb International
[url=http://www.musicweb-international.com/classRev/2006/Aug06/Matsuev_Stravinsky_82876788612.htm#ixzz0zIrFOZbk]http://www.musicweb-internationa ... 2.htm#ixzz0zIrFOZbk[/url]
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查看完整版本: Denis Matsuev: Stravinsky: Petrouchka / Tchaikovsky: The Seasons