Customer Reviews

Markevitch: Complete Orchestral Works, Vol. 3

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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.