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Personnel:
Royal Opera House Orchestra, Covent Garden, under thedirection of Ernest Ansermet
· Collectors Edition
· Issued in Double-CD Digipack Edition
· 28-Page Original Facsimile Booklet
· Original Living Stereo Recordings
· Newly Remastered in 24-Bit HQ Sound
The recording of these ballet excerpts recalled to me withpleasure the many years I worked together with the Ballets Russes of Diaghileffin Paris, the United States and numerous European and South American countries,as well as my association with the Royal Ballet of London on the occasion ofthe twenty-fifth anniversary of the death of Diaghileff in 1954.
To direct a ballet is for a conductor a great and gratifyingexperience for it demands a completely special rhythmic sense, feeling fortempo and technical precision. Ballet today rarely has a large orchestra at itsdisposal and this is highly regrettable since ballet conductors need it if themusical effect is to be what it should.
In general, ballet music, except for its rhythmicallyaccentuated character, presents no special conducting problem, but the balletsof Stravinsky brought into symphonic literature changes of rhythm whichcompletely revised the technique of conducting. In these two records it was notpossible to include examples from Stravinsky since it is difficult to extractfrom them short excerpts. Besides, the aim of the album is to recall works onwhich the glory of the ballet was founded.
In my opinion, Coppélia, masterpiece of Delibes, is a modelballet and I believe this score was not without its influence on the lastballets of Tchaikovsky. These are however, in their turn, masterpieces trulyworthy of the great musician which Tchaikovsky was. A progress in the qualityof the music is apparent from Swan Lake to Sleeping Beauty to The Nutcracker.
The rebirth of the ballet under the influence of Diaghileffwas responsible for extremely interesting works. I fear though that themasterpieces of this periodthe ballets of Stravinsky, of Ravel, of Manuel deFallamarked for the time being a high point in the creation of ballet musicwhich has never since been reached.
One is not sufficiently aware that an art form does notdevelop unless it finds a social base and ballet at this moment, although ithas found passionate supporters in Anglo-Saxon countries, depends on acosmopolite and changing public which does not dictate clear directives to theauthors.
In these circumstances it is the more pleasant to rediscoverthe works which have been the touchstones of the musical genre.
Ernest Ansermet (From the originla liner notes)
TRACKLIST:
CD 1
Pyotr Ilyich Tchaikovsky
The Nutcracker Suite, Op.71a (Excerpts)
01. March
02. Dance of the Sugar Plum Fairy
03. Arabian Dance (Coffee)
04. Chinese Dance (Tea)
05. Dance of the Mirlitons
06. Waltz of the Flowers
Gioacchino Rossini
La Boutique Fantasque (Excerpts)
07. Tarantella
08. Andantino mosso
09. Can-Can
Léo Delibes
Coppélia (Excerpts)
10. Act 1: Prélude Mazurka
11. Introduction and Waltz
12. Czárdás (Danse hongroise)
13. Act 2: Valse de la poupée
Adolphe Charles Adam
Giselle (Excerpts)
14. Act 1: Introduction and Waltz
15. Act 2: Pas de deux and Variation
CD 2
Pyotr Ilyich Tchaikovsky
Swan Lake, Op.20 (Excerpts)
01. Act 2: Scene (moderato)
02. Danse des petits cygnes (moderato)
03. Scene Pas de deux
Charles Taylor, solo violin
04. Valse
Robert Schumann
Carnaval, Op.9 (Excerpts)
Orchestration Glazunov, Rimsky-Korsakov
05. Pierrot
06. Reconnaissance
07. Pantalon et Colombine
08. Aveu
Pyotr Ilyich Tchaikovsky
The Sleeping Beauty, Op.66a (Excerpts)
09. Introduction: Prologue The Lilac Fairy
10. Act 1: Rose Adagio
11. Pas daction Valse
Frédéric Chopin
Les Sylphides (Excerpts)
Orchestration Roy Douglas
12. Overture: Prélude in A, Op.28 No.7
13. Mazurka in C, Op.67, No.3
14. Grande Valse Brillante in E-flat, Op.18
Recorded in London at Kings Way Hall, 1957
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