Gabriel FAURÉ (1845-1924)
Pelléas et Mélisande suite op.80 (1898)
Pyotr Ilyich TCHAIKOVSKY (1840-1893)
Capriccio italien, orchestral fantasy, op.45 (1880) [16:09]
Sergei PROKOFIEV (1891-1953)
Romeo and Juliet, Op. 64 (1935) Excerpts
Dresdner Philharmonie/Michael Sanderling
rec. live, 2012, Kulturpalast, Dresden, Germany.
GENUIN CLASSICS GEN12238 [62:59]
These are the first recordings by the Dresdner Philharmonie with its new
principal
conductor Michael Sanderling. It’s live from the opening concert of
their
2011/12 season dedicated to the theme of Love. A few weeks ago I had the
good
fortune to attend a concert by the touring Dresdner Philharmonie under
Sanderling
with Sarah Chang as soloist at Manchester’s Bridgwater Hall. It was
a
vividly memorable concert with orchestra, soloist and conductor in total
rapport.
The disc opens with Fauré in a suite from his incidental music
written
in 1898 for a London production of Maurice Maeterlinck’s play. Owing
to
a short deadline Fauré had assistance from composer Charles
Koechlin
in making the orchestrations. The play had inspired a number of composers
and
it seems that Debussy not Fauré was the initial choice of English
actress
Mrs. Patrick Campbell to write the incidental music for her English
production
of the play. In the Prélude a sumptuous and atmospheric
orchestral
sound is immediately evident with Sanderling controlling the impressive
climaxes.
Many people will recognise the Sicilienne but far fewer will be
able
to identify it. Marked Allegro molto moderato this is tender,
lightly
textured music played here with much affection.
Composed in 1880 Tchaikovsky’s Capriccio italien, op.45 is an
orchestral
fantasy based on Italian street songs that he heard in Rome whilst staying
at
the Hôtel Constanzi. Tchaikovsky expressed his wish to include music
in
the style of Glinka’s Spanish fantasias; a desire that he achieved.
The
score opens with a striking bugle call inspired by the reveille from the
nearby
cavalry barracks. There’s appealingly warm and vibrant playing
throughout
but I was especially struck by the swirling tarantella that brings
the
work to a dazzling conclusion.
Marking his maturity Prokofiev wrote his ballet Romeo and Juliet
based
on William Shakespeare's play Romeo and Juliet in 1935. It was
intended
for his friend the theatre director Sergei Radlov at Moscow’s
Bolshoi.
Sanderling chose six sections from the: two from the full concert score,
op.
64; one from Suite No. 1 and three pieces from Suite No. 2.
Prokofiev
was certainly operating at an elevated level with the thrilling writing
continuing
to delight generations of music-lovers. The opening of Montagues and
Capulets
makes a tremendous impact with the Dresden players generating a stunning
crescendo
and an especially brutal climax. The brisk and breezy Dance of the Five
Couples
contains some glorious string and woodwind playing. Romeo and Juliet
Before
Parting overflows with beautiful and memorable melodies.
Recorded live in 2012 at the Dresden Kulturpalast the players have the
benefit
of splendid recorded sound with an especially impressive balance. There is
no
extraneous noise from the audience to cause distraction and the applause
at
the end of each work has been left in. Sanderling gives powerfully lyrical
interpretations
and his tempo selection is judicious. The sheer beauty of the sound
is
stunning, combining polish, sensitivity and rapt expression. With such a
satisfying
mix this release will have a wide appeal.
Michael Cookson
Pelléas et Mélisande
Prélude [5:31]
Mélisande at her spinning wheel [2:17]
Sicilienne [3:36]
The death of Mélisande [4:42]
Romeo and Juliet
Montagues and Capulets (or The Dance of the Knights), Op. 64b/1 [5:12]
Juliet the Young Girl, Op. 64b/2 [3:54]
Dance for the Five Couples, Op. 64/24 [2:03]
Romeo and Juliet before Parting, Op. 64b/5 [8:14]
Juliet’s Funeral, Op. 64/51 [6:02]
Death of Tybalt, Op. 64a/7 [5:11]
This release will have a wide appeal.
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