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░ ░
-░░+ Bartok The Miraculous Mandarin (Naxos 557433) +░░-
,▓░ ░▓,
▒░ Release Date:29-12-2005 ░▒
▒*░ ░░ Encoder:Lame v3.91 ░░ ░*▒
░░▓_ █▒ Company:Naxos ▒█ _▓░░
|▒ ▓▓ N▒▒ Genre:Classical ▒▒N ▓▓ ▒|
░░u▒▓ ░█▒ Year:2005 ▒█░ ▓▒u░░
▒▓▒ ▓░+▒ Ripper:Scherzo ▒+░▓ ▒▓▒
░▒░ ▓▓#▓▒ Supplier:Scherzo ▒▓#▓▓ ░▒░
░ ▓▒▒▒░ Songs:22 ░▒▒▒▓ ░
▒█▓░ Khz/Bitrate..44,1/ 192 ░▓█▒
▓██░ ░ ░ ░██▓
█▓▒ ▒, Track List: ,▒ ▒▓█
█ ▒▒ ▒▒ █
▓ ░▓ ▒▒░ 01 - The Miraculous Mandarin Sz73 - I. Opening [03:15] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 02 - The Miraculous Mandarin Sz73 - II. First S [03:41] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 03 - The Miraculous Mandarin Sz73 - III. Second [03:09] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 04 - The Miraculous Mandarin Sz73 - IV. Third S [01:38] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 05 - The Miraculous Mandarin Sz73 - V. the Mand [02:30] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 06 - The Miraculous Mandarin Sz73 - VI. the Gir [05:47] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 07 - The Miraculous Mandarin Sz73 - VII. the Ma [00:40] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 08 - The Miraculous Mandarin Sz73 - VIII. the T [02:52] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 09 - The Miraculous Mandarin Sz73 - IX. Suddenl [03:20] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 10 - The Miraculous Mandarin Sz73 - X.the Terri [01:56] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 11 - The Miraculous Mandarin Sz73 - XI. the Bod [01:52] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 12 - The Miraculous Mandarin Sz73 - XII. She Re [02:11] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 13 - Dance Suite Sz77 - I. Moderato [03:49] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 14 - Dance Suite Sz77 - II. Allegro Molto [02:19] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 15 - Dance Suite Sz77 - III. Allegro Vivace [03:09] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 16 - Dance Suite Sz77 - IV. Molto Tranquillo [02:51] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 17 - Dance Suite Sz77 - V. Comodo - Finale [05:19] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 18 - Hungarian Pictures Sz97 - I. an Evening in [03:03] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 19 - Hungarian Pictures Sz97 - II. Bear Dance [01:47] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 20 - Hungarian Pictures Sz97 - III. Melody [02:08] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 21 - Hungarian Pictures Sz97 - IV. Slightly Tip [02:27] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 22 - Hungarian Pictures Sz97 - V. Swineherds Da [02:18] ░▒▒ ▓░ ▓
░ ▒ _▒░ ░▒_ ▒ ░
▒▒ ▓▓ ▓▓ ▒▒
░▒█ ▓▒u░ Total Length : [62:01 min ░u▒▓ █▒░
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▒░░▒ ▓▓█ Description: █▓▓ ▒░░▒
▒░▒ # # ▒░▒
▒░ ▒ - Bournemouth Symphony Chorus and Orchestra ▒ ░▒
▒░ ▒ - Marin Alsop, Director ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Stage music plays a relatively brief but crucial ▒ ░▒
▒░ ▒ rôle in the work of Béla Bartók. Having finished the ▒ ░▒
▒░ ▒ one-act opera "Duke Bluebeard's Castle" in 1911, he ▒ ░▒
▒░ ▒ composed little until the summer of 1914, when he ▒ ░▒
▒░ ▒ embarked on the ballet "The Wooden Prince". ▒ ░▒
▒░ ▒ Completed two years later, its première at the ▒ ░▒
▒░ ▒ Budapest Opera in 1917 was one of the composer's few ▒ ░▒
▒░ ▒ great successes in his lifetime. The company ▒ ░▒
▒░ ▒ proceeded to stage the opera the following year, but ▒ ░▒
▒░ ▒ it met with an equivocal reception and was withdrawn ▒ ░▒
▒░ ▒ after eight performances, not to be heard again in ▒ ░▒
▒░ ▒ Hungary for almost two decades. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ An even worst fate awaited Bartók's last stagework, ▒ ░▒
▒░ ▒ the pantomime "The Miraculous Mandarin". Begun as ▒ ░▒
▒░ ▒ the third part of an intended triple bill, it was ▒ ░▒
▒░ ▒ drafted in 1918-19 but only orchestrated five years ▒ ░▒
▒░ ▒ later. Apart from its composer's ongoing uncertainly ▒ ░▒
▒░ ▒ as to musical direction, the scenario by Menyhért ▒ ░▒
▒░ ▒ Lengyel was unlikely to pass muster with the ▒ ░▒
▒░ ▒ Hungarian censor. The work was finally given its ▒ ░▒
▒░ ▒ first performance in Cologne during 1926, but banned ▒ ░▒
▒░ ▒ immediately on moral grounds (by the then Mayor of ▒ ░▒
▒░ ▒ the city Konrad Adenauer) and not staged again in ▒ ░▒
▒░ ▒ Bartók's lifetime. Although an orchestral suite ▒ ░▒
▒░ ▒ consisting of almost the first two-thirds of the ▒ ░▒
▒░ ▒ work quickly found a place in the modern orchestral ▒ ░▒
▒░ ▒ repertoire, the pantomime has only latterly come ▒ ░▒
▒░ ▒ into its own, and full stagings remain infrequent. ▒ ░▒
▒░ ▒ As with Stravinsky's "The Rite of Spring", to which ▒ ░▒
▒░ ▒ it is indebted in certain particulars. ▒ ░▒
▒░ ▒ "The Miraculous Mandarin" has a rapid pace and ▒ ░▒
▒░ ▒ density of musical incident which are difficult to ▒ ░▒
▒░ ▒ render visually, and indeed are probably best ▒ ░▒
▒░ ▒ appreciated by the "mind's eye". ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ As envisaged by Lengyel, a recipient of Freudian ▒ ░▒
▒░ ▒ psychoanalysis and Hungary's chief Expressionist ▒ ░▒
▒░ ▒ writer, the scenario is more concerned with mimed ▒ ░▒
▒░ ▒ than danced drama, hence the designation "pantomime" ▒ ░▒
▒░ ▒ rather than "ballet", and focuses on the ▒ ░▒
▒░ ▒ irreconcilability of intuitive nature and corrupt ▒ ░▒
▒░ ▒ civilisation. The latter is accorded graphic ▒ ░▒
▒░ ▒ depiction in the "Introduction", where insistent ▒ ░▒
▒░ ▒ rhythmic patterns and grinding dissonance evoke the ▒ ░▒
▒░ ▒ sound of traffic in a busy thoroughfare. The curtain ▒ ░▒
▒░ ▒ rises on an upstairs room in a shabby apartment, ▒ ░▒
▒░ ▒ occupied by three ruffians and a girl. Having no ▒ ░▒
▒░ ▒ money, the thugs coerce the girl into attracting ▒ ░▒
▒░ ▒ "passing trade". There follow three seduction ▒ ░▒
▒░ ▒ sequences, each introduced by a clarinete solo. The ▒ ░▒
▒░ ▒ first sequence lures a shabby old rake (denoted by ▒ ░▒
▒░ ▒ trombone glissandi), who, penniless, is summarily ▒ ░▒
▒░ ▒ ejected by the gang. The second sequence lures a shy ▒ ░▒
▒░ ▒ young man (oboe and cor anglais), whose waltz with ▒ ░▒
▒░ ▒ the girl suddenly gains in ardour until, also ▒ ░▒
▒░ ▒ penniless, he is ejected. ▒ ░▒
▒░ ▒ The third sequence lures the mandarin, his exotic ▒ ░▒
▒░ ▒ appearance vividly evoked by brass. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ There follows an extended sequence in which the girl ▒ ░▒
▒░ ▒ gradually overcomes her repugnance towards the ▒ ░▒
▒░ ▒ mandarin, embarking on a waltz which mounts in ▒ ░▒
▒░ ▒ urgency as the latter's responses become more ▒ ░▒
▒░ ▒ impulsive. A chase ensues (fugato in strings, ▒ ░▒
▒░ ▒ woodwind, then brass), building an unstoppable ▒ ░▒
▒░ ▒ momentum and curtailed only when the thugs pounce on ▒ ░▒
▒░ ▒ the mandarin. Robbing him of his possessions, they ▒ ░▒
▒░ ▒ make three attempts to kill him, a dramatic and ▒ ░▒
▒░ ▒ musical parallel to the three lurings: first they ▒ ░▒
▒░ ▒ suffocate him under the bedding, but to no avail; ▒ ░▒
▒░ ▒ then they stab him, only for him to break free and ▒ ░▒
▒░ ▒ rush at the girl; finally, they hang him from a ▒ ░▒
▒░ ▒ light fitting, whereupon his body begins to glow ▒ ░▒
▒░ ▒ with "greenish-blue" light (wordless chorus). Only ▒ ░▒
▒░ ▒ now does the girsl realise what must happen. The ▒ ░▒
▒░ ▒ mandarin is duly taken down and his embrace ▒ ░▒
▒░ ▒ reciprocated; satiated, his wounds begin to bleed ▒ ░▒
▒░ ▒ and, with a series of shudders, he dies. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Before resuming work on "The Miraculous Mandarin", ▒ ░▒
▒░ ▒ Bartók enjoyed considerable success with a piece ▒ ░▒
▒░ ▒ written ostensibly for "official" purposes. The ▒ ░▒
▒░ ▒ "Dance Suite" was one of three commissions, along ▒ ░▒
▒░ ▒ with Kodály's "Psalmus Hungaricus" and Dohnányi's ▒ ░▒
▒░ ▒ "Festive Overture", to mark the fiftieth anniversary ▒ ░▒
▒░ ▒ of the union of Buda and Pest as the Hungarian ▒ ░▒
▒░ ▒ capital. First performed in November 1923, its ▒ ░▒
▒░ ▒ clear-cut manner must have seemed out of keeping ▒ ░▒
▒░ ▒ with Bartók's musical thinking up to that time, but ▒ ░▒
▒░ ▒ the fusing of a range of folk characteristics was to ▒ ░▒
▒░ ▒ have increasing significance in the works that ▒ ░▒
▒░ ▒ followed. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ The suite opens with a "Moderato" dance, its ▒ ░▒
▒░ ▒ syncopated repetitions denoting a North African ▒ ░▒
▒░ ▒ influence. The bitter-sweet Hungarian ritornello ▒ ░▒
▒░ ▒ that follows is to reappear after each of the ▒ ░▒
▒░ ▒ subsequent three dances, binding the work together ▒ ░▒
▒░ ▒ musically and culturally. The "Allegro molto" second ▒ ░▒
▒░ ▒ dance is largely Magyar in origin, then the "Allegro ▒ ░▒
▒░ ▒ vivace" third dance vigorously alternates Hungarian ▒ ░▒
▒░ ▒ and Romanian influences. The sensous "Molto ▒ ░▒
▒░ ▒ tranquillo" fourth dance is oriental -more ▒ ░▒
▒░ ▒ specifically, Arabic- in origin, while the brief ▒ ░▒
▒░ ▒ "Comodo" fifth dance is designated of "primitive ▒ ░▒
▒░ ▒ peasant character". It remains for the "Allegro" ▒ ░▒
▒░ ▒ finale to impart overall unity by alluding to ▒ ░▒
▒░ ▒ earlier dances and traditions: after a final return ▒ ░▒
▒░ ▒ of the ritornello, the work concludes with a ▒ ░▒
▒░ ▒ decisive confirmation of the indivisibility of ▒ ░▒
▒░ ▒ peoples and musics. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ The folk inferences of Bartók's maturity were to be ▒ ░▒
▒░ ▒ deployed according to the nature of the work at ▒ ░▒
▒░ ▒ hand. Some of the most immediately attractive ▒ ░▒
▒░ ▒ examples are found in the numerous suites that he ▒ ░▒
▒░ ▒ orchestrated from earlier piano pieces. One such is ▒ ░▒
▒░ ▒ the "Hungarian Pictures", assembled in 1931 from ▒ ░▒
▒░ ▒ piano music composed over two decades earlier, ▒ ░▒
▒░ ▒ during the period, in fact, of his intensive ▒ ░▒
▒░ ▒ involvement with folk-music research. The poignant ▒ ░▒
▒░ ▒ "An Evening with the Székely" (as the Hungarian ▒ ░▒
▒░ ▒ natives of Transylvania are known) and energetic ▒ ░▒
▒░ ▒ "Bear Dance" are both drawn from the "Ten Easy ▒ ░▒
▒░ ▒ Pieces" of 1908, while the plaintive "Melody" that ▒ ░▒
▒░ ▒ follows derives from the "Four Dirges" of 1910. The ▒ ░▒
▒░ ▒ appropiately titled "Slightly Tipsy" originally ▒ ░▒
▒░ ▒ comes from the "Three Burlesques" of 1911, then the ▒ ░▒
▒░ ▒ dashing "Swineherd's Dance", drawn from the ▒ ░▒
▒░ ▒ extensive four-part collection "For Children", ▒ ░▒
▒░ ▒ completed in 1909, and the one demonstrably ▒ ░▒
▒░ ▒ authentic folk-song included here, brings the ▒ ░▒
▒░ ▒ sequence to a lively and engaging close. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Richard Whitehouse ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ - Bournemouth Symphony Orchestra - ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Founded in 1893 by Sir Dan Godfrey, the Bournemouth ▒ ░▒
▒░ ▒ Symphony Orchestra has had among its Principal ▒ ░▒
▒░ ▒ Conductors some of the finest musicians in the ▒ ░▒
▒░ ▒ world, including Rudolf Schwarz, Constantin ▒ ░▒
▒░ ▒ Silvestri, Sir Charles Groves and Paavo Berglund. ▒ ░▒
▒░ ▒ More recently Andrew Litton raised the orchestra's ▒ ░▒
▒░ ▒ standards to new levels, crowning its centenary ▒ ░▒
▒░ ▒ season with a triumphant début tour of the United ▒ ░▒
▒░ ▒ States in April 1994, followed by Yakov Kreizberg ▒ ░▒
▒░ ▒ and débuts at the Musikverein, Vienna, the ▒ ░▒
▒░ ▒ Concertgebouw, Amsterdam, and Carnegie Hall, New ▒ ░▒
▒░ ▒ York. In October 2002, Marin Alsop became Principal ▒ ░▒
▒░ ▒ Conductor, the first woman to hold this title for ▒ ░▒
▒░ ▒ any British symphony orchestra. ▒ ░▒
▒░ ▒ The name of the orchestra is internationally known ▒ ░▒
▒░ ▒ through over three hundred recordings , including ▒ ░▒
▒░ ▒ the award-winning release of Anthony Payne's ▒ ░▒
▒░ ▒ sketches for Elgar's "Symphony No.3" with Paul ▒ ░▒
▒░ ▒ Daniel (8.554719), the symphonies of Vaughan ▒ ░▒
▒░ ▒ Williams with the former Chief Guest Conductor Kees ▒ ░▒
▒░ ▒ Bakels and Paul Daniel, and a recording of works by ▒ ░▒
▒░ ▒ John Adams under Marin Alsop for Naxos (8.559031), ▒ ░▒
▒░ ▒ this last chosen as Editor's Cjoice in the November ▒ ░▒
▒░ ▒ 2004 issue of "The Gramophone" magazine. The ▒ ░▒
▒░ ▒ orchestra is also now well known through increasing ▒ ░▒
▒░ ▒ international exposure in overseas tours. In ▒ ░▒
▒░ ▒ addition to its recording and international touring ▒ ░▒
▒░ ▒ commitments, the Bournemouth Symphony Orchestra is ▒ ░▒
▒░ ▒ dedicated to providing orchestral music across the ▒ ░▒
▒░ ▒ South and West of Britain, with a varied programme ▒ ░▒
▒░ ▒ of educational and outreach commitments, and makes ▒ ░▒
▒░ ▒ regular appearances in major festivals and ▒ ░▒
▒░ ▒ concert-halls throughout the country. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ - Marin Alsop - ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Principal Conductor of the Bournemouth Symphony ▒ ░▒
▒░ ▒ Orchestra since 2002, Marin Alsop won the Royal ▒ ░▒
▒░ ▒ Philharmonic Society Conductor of the Year award ▒ ░▒
▒░ ▒ that season and was named "Gramophone" magazine's ▒ ░▒
▒░ ▒ Artist of the Year in 2003. She regularly conducts ▒ ░▒
▒░ ▒ the Chicago Symphony, Philadelphia Orchestra, New ▒ ░▒
▒░ ▒ York Philharmonic, Los Angeles Philharmonic and the ▒ ░▒
▒░ ▒ London Symphony Orchestra, and recent guest ▒ ░▒
▒░ ▒ engagements include the Royal Concertgebouw ▒ ░▒
▒░ ▒ Orchestra, the NDR SO, Hamburg and the Munich ▒ ░▒
▒░ ▒ Philharmonic. Marin Alsop studied at Yale and at the ▒ ░▒
▒░ ▒ Juilliard School and won the Koussevitzky Conducting ▒ ░▒
▒░ ▒ Prize at Tanglewood, where she studied with Leonard ▒ ░▒
▒░ ▒ Bernstein and Seiji Ozawa. Her recordings for Nexos ▒ ░▒
▒░ ▒ include the Brahms "Symphonies" and "Overtures" with ▒ ░▒
▒░ ▒ the London Philharmonic, the complete orchestral ▒ ░▒
▒░ ▒ works of Samuel Barber (6 CDs) with the Royal ▒ ░▒
▒░ ▒ Scottish National Orchestra and Tchaikovsky's ▒ ░▒
▒░ ▒ "Fourth Symphony" (Naxos 8.555714) with the Colorado ▒ ░▒
▒░ ▒ Symphony. ▒ ░▒
▒░ ▒ This is her fourth disc with the Bournemouth ▒ ░▒
▒░ ▒ Symphony Orchestra, following upon the success of ▒ ░▒
▒░ ▒ Bernstein (Naxos 8.559177), John Adams (Naxos ▒ ░▒
▒░ ▒ 8.559031) and Philip Glass (Naxos 8.559202) ▒ ░▒
▒░ ▒ releases. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Recorded on 19th and 20th July 2004, at the Concert ▒ ░▒
▒░ ▒ Hall, Lighthouse, Poole, England. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ To hear Marin Alsop introduce Bartók's "The ▒ ░▒
▒░ ▒ Miraculous Mandarin", go to ▒ ░▒
▒░ ▒ http://naxos.com/alsop/mandarin ▒ ░▒
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