Ballet Music
View record and artist detailsRecord and Artist Details
Composer or Director: Erich Wolfgang Korngold, Richard Strauss, Franz Liszt, Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Franz Schreker
Genre:
Orchestral
Label: Pentatone
Magazine Review Date: 09/2014
Media Format: Super Audio CD
Media Runtime: 65
Mastering:
DDD
Catalogue Number: PTC5186 518
Tracks:
Composition | Artist Credit |
---|---|
Salome, Movement: Dance of the Seven Veils |
Richard Strauss, Composer
Kazuki Yamada, Conductor Richard Strauss, Composer Suisse Romande Orchestra |
(2) Episodes from Lenau's Faust, Movement: Der Tanz in der Dorfschenke (Mephisto Waltz No. 1) |
Franz Liszt, Composer
Franz Liszt, Composer Kazuki Yamada, Conductor Suisse Romande Orchestra |
Straussiana |
Erich Wolfgang Korngold, Composer
Erich Wolfgang Korngold, Composer Kazuki Yamada, Conductor Suisse Romande Orchestra |
Tanzwalzer |
Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer
Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer Kazuki Yamada, Conductor Suisse Romande Orchestra |
(Ein) Tanzspiel |
Franz Schreker, Composer
Franz Schreker, Composer Kazuki Yamada, Conductor Suisse Romande Orchestra |
(Der) Rosenkavalier, Movement: WALTZ SEQUENCES, Act 1 and 2 |
Richard Strauss, Composer
Kazuki Yamada, Conductor Richard Strauss, Composer Suisse Romande Orchestra |
Author: Andrew Achenbach
Two of the three comparative rarities chosen by Yamada were designed as tributes to the Waltz King: Korngold’s fetching Straussiana (his orchestral swansong from 1953) draws upon material from the 1892 opera Ritter Pázmán and its three linked dance-movements (a polka, mazurka and waltz) really do fall on the ear in most ingratiating fashion, while Busoni’s hugely engaging Tanz-Walzer (completed in October 1920 and premiered by the composer and the BPO the following January) serves up a wealth of canny resourcefulness and spicy harmonic incident. Written in 1908 but not orchestrated until 1920, Schreker’s Ein Tanzspiel comprises a lusciously romantic, gorgeously decadent 12-minute suite in four movements, its very Viennese glitter, opulence and glow savoured here.
No grumbles, either, with Yamada’s superbly attentive and disarmingly spontaneous handling of the Dance of the Seven Veils from Salome or his conspicuously lissom, beamingly affectionate way with the Rosenkavalier waltz sequence. All of which just leaves Liszt’s Mephisto Waltz No 1, which emerges as freshly as the day it was conceived in this excitingly clean-limbed, infectiously communicative account. Tremendous sound, too, from the Pentatone production team working in the marvellously accommodating acoustics of Geneva’s Victoria Hall. An undoubted treat – and more soon, please.
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