Stravinsky - Les Noces · Mass · Cantata
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Canadian Music Store Music CD CoverComposer: Igor StravinskyConductor: Daniel Reuss Orchestra: RIAS Kammerchor Orchestra: musikFabrik Performer: Carolyn Sampson Performer: Susan Parry Performer: Vsevolod Grivnov Performer: Jan Kobow Performer: Maxim Mikhailov Performer: Peter Veale Edition: Music CD Format: Hybrid SACD - DSD, Import CD Release Date: 2006-10-10 Music Label: Harmonia Mundi (France) Free Music Notes for Stravinsky - Les Noces · Mass · CantataFree Music Review: STRAVINSKY AND CHRISTIANITY
If my experience is anything to go by, these are fairly unfamiliar Stravinsky works. In that case I would like, if I may, to try to get the attention of a few newcomers for what I believe to be very interesting music, very well performed and presented. Les Noces is a setting of various traditional Russian wedding songs, and Stravinsky took 10 years over its composition. He had originally projected a mega-orchestra on the lines of the Rite of Spring, but what he ended up with was four pianos and percussion. The work is mainly for chorus (naturally enough), and there are the four usual solo parts. The music is no more concerned with illustrating its texts than the music to The Ball of Kirriemuir is. It is all about pounding repetitive rhythm from start to finish, and I can only assume that it had a strong influence on the Carmina Burana and Catulli Carmina of Orff. The Mass is a short setting, about the usual length of a Mozart mass, some examples of which apparently prompted this work's composition. It was written to no commission, it preceded The Rake's Progress, and the Cantata followed that, seemingly answering to a need Stravinsky felt to compose another work to an English text. Stravinsky found his texts among Auden's marginalia to the book of The Rake, but the Lyke-Wake Dirge is so reminiscent of the Scottish ballad in Britten's Serenade that I would be amazed if Stravinsky was not influenced by that too. He must have known it, and he surely knew also that of all native English-speaking composers Britten was the model among models to follow when it came to literary discernment and instinct for what does and what does not go to music (e.g. emphatically not Housman in my own opinion). The Cantata has parts for soprano and tenor solos as well as the chorus, the Mass is for chorus only, and each work is accompanied by a small chamber band.
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