Igor Stravinsky - Petrushka; The Fairy's Kiss

"Provocative and probably previously unreleased reunion of two scores which has been essential for the ballet music in the Paris of before and after World War I. The Russian conductor Evgeni Mravinsky, who stayed in his homeland but remained always impervious to any ukaz, either political or aesthetical, dared to present in a single evening these two scores, both with the same accuracy of interpretation: the exuberance of a street theatre in Saint Petersburg, his native city, and the stylishness of an 'in Tchaikovsky manner' piece, where the Sleeping Beauty's awakening becomes an 'Icy Kiss'... Impressive and without competition!" (From the liner notes.)

Performers: Leningrad Philharmonic Orchestra, Yevgeny Mravinsky

1. Petrushka, Ballet Suite: I. First Tableau

2. Petrushka, Ballet Suite: II. Second Tableau

3. Petrushka, Ballet Suite: III. Third Tableau

4. Petrushka, Ballet Suite: IV. Fourth Tableau

5. The Fairy's Kiss: I. First Scene

6. The Fairy's Kiss: II. Second Scene

7. The Fairy's Kiss: III. Third Scene - By The Mill

8. The Fairy's Kiss: III. Third Scene - Pas De Deux. Entrée

9. The Fairy's Kiss: III. Third Scene - Pas De Deux. Adagio

10. The Fairy's Kiss: III. Third Scene - Pas De Deux. Variation

11. The Fairy's Kiss: III. Third Scene - Pas De Deux. Coda

12. The Fairy's Kiss: III. Third Scene - Scene

13. The Fairy's Kiss: IV. Fourth Scene - Epilogue

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Joseph Haydn - String Quartets, Op. 33 Nos. 2, 3 & 5

"The musicians of the Párkányí Quartet have striven to put Haydn back into his Austro-Hungarian context and underscore the modernism of these works, with their surprising density and brevity. They avoid any reference to the Romantic style, which would span the 19th century from Beethoven to Brahms, their approach leading directly from 1780 to the 'Classicism' of the 20th century. It shows to best advantage the dimension that is both 'popular' and 'highbrow' in these works, bringing out their humour and the amazing inventiveness on three levels: rhythm, phrasing that is always lightened or simplified but with a clearly identifiable main thread, and finally, the playful use of structural artifices (sonata form that is sometimes monothematic; the minuet rcplaced by a scherzo, occasionally imitating the Ländler, and rondo or finale with variations). The composer seems to use surprises and jokes sparingly: cantabile playing in gaillarde rhythms; modelling of the Baroque style rid of all ornamentation other than noted which might weaken the clarity of the melodic-rhythmic design; abrupt interruptions and recapitulations transfigured by long pauses... in order to bring a smile to the listener's lips with so many winks and a dialectical opening on writing processes." (Pierre E. Barbier, tr. John Tyler Tuttle. From the liner notes.)

Performers: Párkányí Quartet

1. String Quartet In C Major, Op. 33 No. 3, Hob. III. 39 'Vogel-Quartett': I. Allegro Moderato
2. String Quartet In C Major, Op. 33 No. 3, Hob. III. 39 'Vogel-Quartett': II. Scherzo: Allegretto
3. String Quartet In C Major, Op. 33 No. 3, Hob. III. 39 'Vogel-Quartett': III. Adagio Ma Non Troppo
4. String Quartet In C Major, Op. 33 No. 3, Hob. III. 39 'Vogel-Quartett': IV. Rondo: Presto
5. String Quartet In E-Flat Major, Op. 33 No. 2, Hob. III. 38 'The Joke': I. Allegro Moderato
6. String Quartet In E-Flat Major, Op. 33 No. 2, Hob. III. 38 'The Joke': II. Scherzo: Allegro
7. String Quartet In E-Flat Major, Op. 33 No. 2, Hob. III. 38 'The Joke': III. Largo E Sostenuto
8. String Quartet In E-Flat Major, Op. 33 No. 2, Hob. III. 38 'The Joke': IV. Finale: Presto
9. String Quartet In G Major, Op. 33 No. 5, Hob. III. 41: I. Vivace Assai
10. String Quartet In G Major, Op. 33 No. 5, Hob. III. 41: II. Largo E Cantabile
11. String Quartet In G Major, Op. 33 No. 5, Hob. III. 41: III. Scherzo: Allegro
12. String Quartet In G Major, Op. 33 No. 5, Hob. III. 41: IV. Finale: Allegretto

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