Markevitch: Complete Orchestral Works, Vol. 3

Arnhem Philharmonic Orchestra (Artist, Orchestra), Igor Markevitch (Composer), Christopher Lyndon-Gee (Conductor) | Format: Audio CD

Product Details

• Orchestra: Arnhem Philharmonic Orchestra
• Conductor: Christopher Lyndon-Gee
• Composer: Igor Markevitch
• Audio CD (December 15, 2009)
• Number of Discs: 1
• Label: Naxos
• ASIN: B002TMLRS6
• In-Print Editions: MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #484,849 in Music (See Top 100 in Music)

Editorial Reviews

This third volume of Naxos's Igor Markevitch Complete Orchestral Works Edition, presents the
composer's first truly individual work, The Flight of Icarus, the tumultuous 1933 première of which Milhaud proclaimed 'a date in the evolution of music'. The Concerto Grosso, with its
daringly original harmonic language, polytonal and rhythmic ideas, and the evanescent Song of
Love, which recalls both the orchestral colour and emotional detachment of Ravel, are likewise
regarded as youthful masterpieces. Volumes 1 (8.570773) and 2 (8.572152) have been praised for
their 'breathtaking power' and deeply committed performances'.

Customer Reviews

Most Helpful Customer Reviews

1 of 1 people found the following review helpful:

5.0 out of 5 stars What American Orchestras Should Be Programming, October 27, 2011

By 

RJAdams - See all my reviews

This review is from: Markevitch: Complete Orchestral Works, Vol. 3 (Audio CD)

The three masterpieces here are at the summit of all the works, including those of Ravel, Respighi, and even Stravinsky, inspired by Sergei Diaghilev of the Ballets Russes. I cannot emphasize enough how these forgotten masterpieces, passed over for more than 50 years with no advocacy from the conductor-composer, are among the most memorable and powerful works for orchestra of the 20th century. The melodies, rhythms, and superbly orchestrated effects reflect the late romantic ballet scores and early neoclassical efforts of the period 1910 to 1936. While still in his teens Markevitch was praised by Bartok and envied by Stravinsky, especially when others began referring to him as the "other Igor."

Markevitch has a distinctive style or sound signature, as readily identifiable (but totally unlike) Prokofiev or Sibelius. Think Rite of Spring (Icare), Bolero or Daphnis and Chloe (Cantique d'Amour), or early Hindemith (Concerto Grosso), but with a more timeless, mythological sense of the mysteries of Apollo and Dionysus, and with Hindemith's comedic swagger thrown in. Conductor Lyndon-Gee secures excellent, passionate performances from a not top tier orchestra, and though the sound is not the last word (tubby booming bass with an otherwise somewhat distant perspective), it's mostly very good.

Many followed in the footsteps of Stravinsky and Ravel in the exploitation of exotic color and dissonance to expand the composer's vocabulary. Markevitch in a certain sense perhaps excelled both giants in his use of orchestral color, which never is a merely a technique to dazzle the ears but a device to conjure the imagination, and in his use of dissonance, where his purpose is precise characterization rather than shock. His use of these devices seems as utterly facile and appropriate as Mozart's chromaticism. This is music that weaves a spell. Would that he had had more influence on the development of the 20th century American idiom.