Le sacre du printemps
Igor Stravinskij
Emneord
Minder om
Death and the maiden : string quartets nos. 4 & 12 Quartettsatz
Franz Schubert
Mythos
Franz Schubert
Don Juan
Wolfgang Amadeus Mozart
Chant funèbre
Igor Stravinskij
Symphonies nos. 4 & 5
Carl Nielsen (f. 1865)
Æ
Anton Eger
Dichterliebe & Zwölf Gedichte von Justinus Kerner
Robert Schumann
Seasons
Antonio Vivaldi
Carnival of the animals : Saint-Saëns' zoological classic
Camille Saint-Saëns
Anmeldelser (20)
AllMusic
2020
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James Manheim
2020
"Petrenko is not a creator of drastically new interpretations, but he finds the best in the ones that already exist. His Petrushka is precise and wonderfully lively, with every instrumental detail in place, and it would make a great first recording of the work for anyone. For those already deeper into it, the main attraction may be the less common La boutique fantasque, listed as being by Respighi after Rossini ... With the great acoustics of the Philharmonic Hall in Liverpool exploited to the hilt here, this is a superior ballet release".
DR musik
2013 uge 26
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Jens Cornelius
2013 uge 26
"Vurdering: Ugens cd" - "De to musikere, Bjarke Mogensen og Rasmus Schjærff Kjøller, barndomsvenner fra Bornholm, er hver for sig i højeste solistklasse. Det virkelig specielle er deres helt ubegribelig koordination, og at de virker 100 % enige om de musikalske muligheder i den usædvanlige kombination af to klassiske akkordeoner".
MusicWeb international
2018 November
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Dave Billinge
2018 November
"Petrushka was one of the trio of early ballets with which Stravinsky made his name. He revised it along with many other works, in the mid 40s, making the orchestra slightly smaller and simpler. This is the original ... The composer is in a much more modern phase with Jeu de Cartes. Neo-classicism and indeed jazz took the musical world by storm ... This current disc thus allows one to hear two of the many Stravinsky styles and is all the more interesting for that ... The result is a most enjoyable listen. Gergiev is on good form in these exciting concert performances. The detailing so necessary in Stravinsky's complex writing is carefully moulded".
Presto classical
d. 30. okt. 2020
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David Smith (musikanmelder)
d. 30. okt. 2020
"Recording of the week: The juxtaposition of these two works seems more apt the more I think about it. The upbeat optimism of the Boutique perfectly offsets Petrushka, and the result is an album that takes the listener on a journey from a world tinged with the sinister into one of sweetness and light - with the players audibly responding to, and musically capturing, both outlooks".
Jyllands-posten
d. 22. juli 2013
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Jens Povlsen
d. 22. juli 2013
"Transskriptioner udgør vejen ind i den klassiske musiktradition, når man spiller akkordeon ... Også for den danske duo Mythos, der her debuterer på cd med virtuos russisk orkestermusik, som Mogensen og Schjærff Kjøller selv har skåret til. Og det er nogle forrygende skæringer, der er kommet ud af anstrengelserne. Selvom det mesterlige overskud, man finder hos Mythos, indimellem godt kan virke en smule bedøvende, tager det ikke fra de tre "Nøddeknækker"-satser, at de er massivt overvældende at lytte til".
Politiken
d. 10. jan. 2019
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Thomas Michelsen
d. 10. jan. 2019
"Her er rustik varme i genfortællingen af en historie fra en russisk markedsplads. Gergjev dirigerer råt og farverigt, og det klæder musikken. Resultatet er håndfast, varmblodigt og grotesk, som det skal være i nogle af scenerne undervejs. Men også charmerende ... Gergjev fylder ud med musik af Stravinsky, fra han var blevet ældre og neoklassisk i sin stil. 'Jeu de cartes' eller 'Kortspil' er et kantet, på én gang cool og drillesygt balletværk".
Klassisk
2013, nr. 29
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Per Rask Madsen
2013, nr. 29
"Bjarke Mogensen og Rasmus Schjærff Kjøller har hver sin gode karriere som accordeonsolister ... De har selv stået for at oversætte cd'ens fire russiske klassikere til deres instrumenter, og det slipper de aldeles godt fra. Alt klinger godt og rigtigt i arrangementerne, selvom man kender de oprindelige versioner og forventer, at de er på bestemte måder ... Cd'en er velspillet".
BBC music magazine
2013 June
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David Nice
2013 June
"Vurdering: BBC music chamber choice" - "I hope [Stravinsky] would be as stunned as I was: [Petrushka] sounds suitably orchestral in the hands of Bjarke Mogensen and Rasmus Schjærff Kjøller, and yet they also shed new light on it ... A superb Russian programme, then, dazzlingly recorded and well annotated in the booklet notes. Awards should follow".
Opus
2013, nr. 49
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Ladislaus Horatius
2013, nr. 49
"Inga musikaliska överraskningar, däremot en ovan klang, utmärkt programblad, samt bländende spel på dessa 16 kilo tunga ryska instrument".
Diapason
2018 décembre
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Christophe Huss
2018 décembre
BBC music magazine
2019 January
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Christopher Dingle
2019 January
"Jeu de cartes steals the show ... This vivacious performance projects the music's neoclassical lines cleanly, while avoiding sterility. Gergiev's lightness of touch enables the wit to sparkle, especially in the contrasting variations of the 'Second Deal', all captured in superb surround sound. A pity, then, that Petrushka is periodically scrappy and does not match its protagonist in springing to life ... In all, it's a decent if unspectacular account of a work where the bar is set very high".
Fono Forum
2011 Juni
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Thomas Schulz (f. 1960)
2011 Juni
"Besonders die Solobläser haben in den beiden Ballettpartituren Strawinskys reichlich Gelegenheit zu glänzen und sie erledigen ihre Aufgabe mit Bravour".
Opus
2011, nr. 35
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Thomas Roth
2011, nr. 35
"Vurdering: Opus rekommenderar" - "Andrew Litton presenterar en ovanligt nyansrik tolkning ... Samtliga inblandade ger ett helt suveränt framförande. Att Litton arbetat med orkestern i Bergen under en längre tid har gett resultat och varje sekund av musiken utstrålar självförtroende ... Primitivt och rått, javisst, men också rytmiskt levande och framåtdrivande".
BBC music magazine
2020 Christmas
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David Nice
2020 Christmas
"[In the Rossini/Respighi] Petrenko has the idiosyncratic fun of a true ballet master ... Petrushka, though, remains the selling-point. If not quite the most vivid throughout, it too has original approaches - a clearly articulated speediness, in particular, to the beginning and end of the scene in the Moor's room".
Classical music
2016 October
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Guy Weatherall
2016 October
"Taken from the two RFH concerts, Jurowski's Stravinsky compilation opens with a vivid, razor-sharp account of Petrushka (1911), hugely detailed and full of solo contributions of the very highest calibre. The remaining pieces, taped a year earlier, are cooler ... There are more transcendental performances of Orpheus around".
BBC music magazine
2016 December
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Malcolm Hayes
2016 December
"Each of these live recordings sheds intriguing light on aspects of the Stravinsky phenomenon that, even now, are less familiar than they might be ... Both works are graced with strongly characterised playing under Jurowski's precise direction".
The gramophone
2013 September
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Jed Distler
2013 September
"With 20 runaway fingers replacin 100-plus musicians, the Russian Dance moves too fast, but the Mythos Accordion Duo compensate in Shrovetide Fair with incisive arpeggiated flutters and groaning bass-register crescendos ... A fun, suavely executed release".
The gramophone
2018 December
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Edward Seckerson
2018 December
"Bold local colours are pretty much a given for Petrushka with this orchestra and this conductor in this location. But the vividness and 'authenticity' of the characterisation took even me a little by surprise. Frankly it's been a while since a Gergiev performance captured my imagination ... Gergiev as puppeteer is so mindful of the music's folksy roots that the whole has a coarse-cut immediacy that is highly distinctive ... Switching to the neoclassical world of Jeu de Cartes ... Gergiev attends to it much as he does Petrushka ... Thoroughly engaging".
The gramophone
2011 July
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John Warrack
2011 July
"Andrew Litton's Petrushka is also graceful and well judged but less colourful, even somewhat bland ... His Rite of Spring is similarly attentive to detail that an excellent recording serves well".
The gramophone
2016 September
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David Gutman
2016 September
"Here, sympathetic engineering opens out the sound ... Applause has been suppressed throughout. Jurowski ... eliciting eminently recommendable accounts of both [works]. In his urgent and initially edgy take ... he allows the players to shape detail ... Another finely judged rendition".