Nikolai Tcherepnin (not to be confused with his son Alexander!) represents a generation of composers who not only combined two diametrically opposed epochs - the nineteenth and twentieth centuries - but also followed the path of stylistic change leading from late romanticism to impressionism and from impressionism to modernism. His name stands not only for the culture of his native Russia but also in equal measure for Western European art - and especially that of France. In the symphonic prelude Princesse lointaine, a short early work, Tcherepnin develops his compositional aesthetic, and we already detect what later would be a dominant element in his mature works: an interest in legends and sagas. The ballet music for Narcissus and Echo forms the focus of this album. Tcherepnin realized the underlying ideas of the designer Léon Bakst and the choreographer Michel Fokine in his score and did so not merely in an illustrative way but on the strength of his own expressive means. The colorful gradations that Bakst discovered as an optical solution, sometimes the contrast between the Dionysian and Apollonian principles, and the contrast between the bright attire of the Booetians and the dark, muted color of the nymph Echo, who laments her unrequited love, are reflected in the changing orchestral coloration of the music. Tcherepnin's music, in part pervaded by a tenor's vocalises and a vocal ensemble, becomes a brilliant, highly pictorial subject. This is a stylized antiquity with an exquisiteness, beauty, and refinement integrated into a cult, and these characteristics situate the Narcissus score - one of the interesting aesthetic artistic monuments of the early twentieth century - in the vicinity of impressionism and modernism.
Nikolai Tcherepnin (not to be confused with his son Alexander!) represents a generation of composers who not only combined two diametrically opposed epochs - the nineteenth and twentieth centuries - but also followed the path of stylistic change leading from late romanticism to impressionism and from impressionism to modernism. His name stands not only for the culture of his native Russia but also in equal measure for Western European art - and especially that of France. In the symphonic prelude Princesse lointaine, a short early work, Tcherepnin develops his compositional aesthetic, and we already detect what later would be a dominant element in his mature works: an interest in legends and sagas. The ballet music for Narcissus and Echo forms the focus of this album. Tcherepnin realized the underlying ideas of the designer Léon Bakst and the choreographer Michel Fokine in his score and did so not merely in an illustrative way but on the strength of his own expressive means. The colorful gradations that Bakst discovered as an optical solution, sometimes the contrast between the Dionysian and Apollonian principles, and the contrast between the bright attire of the Booetians and the dark, muted color of the nymph Echo, who laments her unrequited love, are reflected in the changing orchestral coloration of the music. Tcherepnin's music, in part pervaded by a tenor's vocalises and a vocal ensemble, becomes a brilliant, highly pictorial subject. This is a stylized antiquity with an exquisiteness, beauty, and refinement integrated into a cult, and these characteristics situate the Narcissus score - one of the interesting aesthetic artistic monuments of the early twentieth century - in the vicinity of impressionism and modernism.
761203525027

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Format: CD
Label: CPO RECORDS
Rel. Date: 06/05/2020
UPC: 761203525027

Narcisse Et Echo 40
Artist: Bamberger Symphoniker
Format: CD
New: Not in stock
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DISC: 1
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1. Prelude To "La Princesse Lointaine", Op. 4
2. Narcisse Et Echo, Op. 40: No. 1, Les Faunes Et Les Sylvains Endormis Dans Un Paysage Mystérieux
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3. Narcisse Et Echo, Op. 40: No. 2, Un Sylvain Se Réveille Il Joue De La Flûte
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4. Narcisse Et Echo, Op. 40: No. 3, Les Autres Se Levent Et Se Rendent Aux Jeux Et Aux Danses Joyeuses, Accimpagnes De Flute
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5. Narcisse Et Echo, Op. 40: No. 4, Entrée Des Jeunes Béotiens Et Béotiennes
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6. Narcisse Et Echo, Op. 40: No. 5, Appel A La Danse
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7. Narcisse Et Echo, Op. 40: No. 6, Danse De La Bacchante
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8. Narcisse Et Echo, Op. 40: No. 7, Appel A La Danse Generale
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9. Narcisse Et Echo, Op. 40: No. 8 Le Bacchanal
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10. Narcisse Et Echo, Op. 40: No. 9, Les Chants Lointains
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11. Narcisse Et Echo, Op. 40: No. 10, Entree Et Danse De Narcisse Poursuivi Par Deux Nymphes Amoureuses
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12. Narcisse Et Echo, Op. 40: No. 11, Les Nymphes Amoureuses Et Les Beotiens, A Leur Tour, Enchantes De Narcisse, Le Supplient De Co
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13. Narcisse Et Echo, Op. 40: No. 12, Danse De Narcisse
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14. Narcisse Et Echo, Op. 40: No. 13, Narcisse S'arrete, Pour Admirer Echo Qui Arrive, Eprise Elle Meme De Narcisse
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15. Narcisse Et Echo, Op. 40: No. 14, Un Poeme Danse
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16. Narcisse Et Echo, Op. 40: No. 15, Narcisse Se Sent Vaincu Par La Grace D'echo
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17. Narcisse Et Echo, Op. 40: No. 16, Alors Les Nymphes Jalouses Racontent A Narcisse Le Defaut D'echo
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18. Narcisse Et Echo, Op. 40: No. 17, Elle Ne Peut Que Répéter Les Paroles Et Les Gestes Des Autres
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19. Narcisse Et Echo, Op. 40: No. 18, Narcisse En Fait L'epreuve
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20. Narcisse Et Echo, Op. 40: No. 19, Les Nymphes Emmenent Narcisse, Désenchantée, Il Abandonne Echo Et S'enfuit G
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21. Narcisse Et Echo, Op. 40: No. 20, Voix De Narcisse Eloignee
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22. Narcisse Et Echo, Op. 40: No. 21, Echo Est Abandonnee
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23. Narcisse Et Echo, Op. 40: No. 22, Puisse L'amour S'allumer Dans Son Coeur Et Puisse-T-Il Ne Jamais Posseder L'objet
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24. Narcisse Et Echo, Op. 40: No. 23, Le Jour Commence A Baisser
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25. Narcisse Et Echo, Op. 40: No. 24, Il Descend Vers Le Bassin, Et S'incline Sur L'eau
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26. Narcisse Et Echo, Op. 40: No. 25, Il Veut Seduire Son Image Et Danse Devant Elle
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27. Narcisse Et Echo, Op. 40: No. 26, Il S'incline Sur L'eau Pour Continuer Sa Contemplation
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28. Narcisse Et Echo, Op. 40: No. 27, L'arrivee D'echo
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29. Narcisse Et Echo, Op. 40: No. 28, Elle Double Ses Efforts
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30. Narcisse Et Echo, Op. 40: No. 29, Desesperee Et Epuisee, Echo Quitte Narcisse Et S'eloigne En Pleurant, D'un Pas Lent
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31. Narcisse Et Echo, Op. 40: No. 30, Narcisse Se Transforme En Une Fleur
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32. Narcisse Et Echo, Op. 40: No. 31, La Nuit Tombe
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More Info:

Nikolai Tcherepnin (not to be confused with his son Alexander!) represents a generation of composers who not only combined two diametrically opposed epochs - the nineteenth and twentieth centuries - but also followed the path of stylistic change leading from late romanticism to impressionism and from impressionism to modernism. His name stands not only for the culture of his native Russia but also in equal measure for Western European art - and especially that of France. In the symphonic prelude Princesse lointaine, a short early work, Tcherepnin develops his compositional aesthetic, and we already detect what later would be a dominant element in his mature works: an interest in legends and sagas. The ballet music for Narcissus and Echo forms the focus of this album. Tcherepnin realized the underlying ideas of the designer Léon Bakst and the choreographer Michel Fokine in his score and did so not merely in an illustrative way but on the strength of his own expressive means. The colorful gradations that Bakst discovered as an optical solution, sometimes the contrast between the Dionysian and Apollonian principles, and the contrast between the bright attire of the Booetians and the dark, muted color of the nymph Echo, who laments her unrequited love, are reflected in the changing orchestral coloration of the music. Tcherepnin's music, in part pervaded by a tenor's vocalises and a vocal ensemble, becomes a brilliant, highly pictorial subject. This is a stylized antiquity with an exquisiteness, beauty, and refinement integrated into a cult, and these characteristics situate the Narcissus score - one of the interesting aesthetic artistic monuments of the early twentieth century - in the vicinity of impressionism and modernism.