Stravinsky: Canticum Sacrum; Agon; Requiem Canticles

Stravinsky: Canticum Sacrum; Agon; Requiem Canticles

Stravinsky: Canticum Sacrum; Agon; Requiem Canticles
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CD Details

Performer: Rudolf Rosen
Composer: Igor Stravinsky
Conductor: Michael Gielen
Performer: Stella Doufexis
Orchestra: SWR Baden-Baden and Freiburg Symphony Orchestra
Performer: Kirsten Drope
Performer: Christian Elsner
Performer: Frank Bossert
Edition: Music CD
Audio: English (Unknown)
Format: Import
CD Release Date: 2008-11-11
Music Label: hänssler Classic
Soundtracks:
  1. Canticum Sacrum ad honorem Sancti Marci nominis, cantata for 2 soloists, chorus & orchestra: Dedicato
  2. Canticum Sacrum ad honorem Sancti Marci nominis, cantata for 2 soloists, chorus & orchestra: 1. Euntes in mundum
  3. Canticum Sacrum ad honorem Sancti Marci nominis, cantata for 2 soloists, chorus & orchestra: 2. Surge, aquilo
  4. Canticum Sacrum ad honorem Sancti Marci nominis, cantata for 2 soloists, chorus & orchestra: 3. Ad tres virtutes. Caritas
  5. Canticum Sacrum ad honorem Sancti Marci nominis, cantata for 2 soloists, chorus & orchestra: 3. Ad tres virtutes. Spes
  6. Canticum Sacrum ad honorem Sancti Marci nominis, cantata for 2 soloists, chorus & orchestra: 3. Ad tres virtutes. Fides
  7. Canticum Sacrum ad honorem Sancti Marci nominis, cantata for 2 soloists, chorus & orchestra: 4. Brevis motus cantilenae
  8. Canticum Sacrum ad honorem Sancti Marci nominis, cantata for 2 soloists, chorus & orchestra: 5. Illi autem profectae
  9. Agon, ballet for 12 dancers & orchestra: Pas-de-Quatre
  10. Agon, ballet for 12 dancers & orchestra: Double Pas-de-Quatre
  11. Agon, ballet for 12 dancers & orchestra: Triple Pas-de-Quatre
  12. Agon, ballet for 12 dancers & orchestra: Prelude
  13. Agon, ballet for 12 dancers & orchestra: First Pas-de-Trois, Saraband-Step
  14. Agon, ballet for 12 dancers & orchestra: Gailliarde
  15. Agon, ballet for 12 dancers & orchestra: Coda
  16. Agon, ballet for 12 dancers & orchestra: Interlude
  17. Agon, ballet for 12 dancers & orchestra: Second Pas-de-Trois, Bransle simple
  18. Agon, ballet for 12 dancers & orchestra: Bransle Gay
  19. Agon, ballet for 12 dancers & orchestra: Bransle de Poitou
  20. Agon, ballet for 12 dancers & orchestra: Interlude
  21. Agon, ballet for 12 dancers & orchestra: Pas-de-Deux
  22. Agon, ballet for 12 dancers & orchestra: Coda
  23. Agon, ballet for 12 dancers & orchestra: Four Duos
  24. Agon, ballet for 12 dancers & orchestra: Four Trios
  25. Requiem Canticles, for 2 vocal soloists, chorus & orchestra: Prelude
  26. Requiem Canticles, for 2 vocal soloists, chorus & orchestra: Exaude
  27. Requiem Canticles, for 2 vocal soloists, chorus & orchestra: Dies irae
  28. Requiem Canticles, for 2 vocal soloists, chorus & orchestra: Tuba mirum
  29. Requiem Canticles, for 2 vocal soloists, chorus & orchestra: Interlude
  30. Requiem Canticles, for 2 vocal soloists, chorus & orchestra: Rex tremendae
  31. Requiem Canticles, for 2 vocal soloists, chorus & orchestra: Lacrimosa
  32. Requiem Canticles, for 2 vocal soloists, chorus & orchestra: Libera me
  33. Requiem Canticles, for 2 vocal soloists, chorus & orchestra: Postlude

Music reviews of Stravinsky: Canticum Sacrum; Agon; Requiem Canticles

Music Review: Late Stravinsky through the "Modern Music" Lens
Rating: 3 Stars

What I mean by my heading is something very specific: a kind of performing aesthetic (which I associate with the 1950s-60s) that not only places a high priority on clarity and accuracy (of pitch, rhythm, dynamic, etc.) but in some sense seeks to divorce the music from the past. The most obvious example is that of the "Canticum Sacrum," composed and structurally related to St. Mark's in Venice (which ironically proved to be disastrously overreverberant for the piece at the premiere): here we have it removed to the concert hall, all crisp clarity, its organ and brass gestures now references to "religious music" rather than continuations of a tradition, albeit in new musical terms.
Maybe I'm just tired of this ghettoizing habit, tired of hearing Stravinsky's last period as his "12-tone," when it would be more accurate (and helpful) to refer to it as his "religious" or "most devout" (at least as far as choice of subject goes). And there is no denying that these are in their way brilliantly accurate performances, expertly recorded. For music students and others following with a full score, they would be an ideal choice. But personally, I would "grade" them as follows:
- "Requiem Canticles" - the best of the three, quite excellent, on a par with (though not superior to) the superb Oliver Knussen/London Sinfonietta version on DG (reissued by ArkivMusic, an invaluable CD of late Stravinsky);
- "Canticum Sacrum" - lacks atmosphere, and the bright, close acoustics tend to bump the dynamics up a notch, especially with the solo singers (a lot of "mezzo-fortes" register as "fortes"). For an alternative view, with sweeter-voiced soloists and a "cathedral acoustic," try the Hyperion with James O'Donnell, the Choir of Westminster Cathedral and the City of London Sinfonia, one of the best CDs devoted to Stravinsky's religious music;
- "Agon" - sorry, this performance leaves me cold. This is Stravinsky stripped of humor and wit, and I don't buy it. I respect where Gielen is coming from, but it sounds as though neither he nor his players has ever seen Balanchine's sublime realization in movement of this music, or alternatively imagined in their minds (and bodies) an alternative choreography. Other recommendations: the recent Volkov on Hyperion (BBC Scottish), with "Jeu de Cartes" and "Orpheus" and - yes - Robert Craft on Naxos, with "Apollo" and "Orpheus": Craft's performances vary a great deal in quality, but these "Three Greek Ballets" are some of his best work.
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