Igor Markevitch's complete recordings for Philips, made between 1959 and 1968, including several recordings new to CD. Igor Markevitch made his debut on the Philips label in 1959 with a pair of symphonies by Haydn, conducting the Parisian Lamoureux Orchestra, whose fortunes he had begun to revive two years previously. He had embarked on a full-time career as a conductor less than 15 years earlier, having been one of the most original voices of European music before the war. Yet he switched from composition studio to podium with the apparent ease and brilliance that marked everything else this polymath did: fluent in many languages, author of several books, teacher of conducting almost as soon as he had made it his own career, director of ensembles on both sides of the Atlantic, from Montreal and Havana to Madrid and Rome. His decade of association with the Dutch label produced meticulously prepared performances of the widest range of repertoire: no other conductor can yet claim to have recorded both Victoria's Magnificat and Tchaikovsky's 1812. There are concertos by Mozart, Beethoven and Falla with Clara Haskil, whom Markevitch saw play Schumann at the very first concert he attended as a nine-year-old. The Lamoureux association also produced French-accented Beethoven and naturally idiomatic Bizet, but once that came to an acrimonious end in 1961, he began to make records in Moscow (vocal works by Brahms, Kodaly, Mussorgsky, Tcherepnin and Verdi, including a famously intense version of the Requiem) and London: his Tchaikovsky cycle with the LSO (1962-7, including one of the first ever complete recordings of Manfred) soon became a staple of the Philips catalogue. Early in his career, Markevitch became renowned as an interpreter of his fellow Russo-French émigré, Stravinsky: a sympathy represented here by an authentically devotional, Russian recording of the Symphony of Psalms (long unavailable on Philips, like much else here), a French-made complete Soldier's Tale with Jean Cocteau and Peter Ustinov, and LSO recordings of Apollon musagète and the small orchestral suites. Further rarities include a disc of children's music (Bizet and Leopold Mozart) with the USSR State SO and the Spanish recordings made in the late 1960s, marking the end of his Philips contract. Having become music director of the Spanish Radio and TV orchestra in 1966, he recorded two albums of zarzuela highlights and surveys of choral music from Victoria to Mompou and Halffter, as well as more familiar repertoire by Granados, Albeníz and Falla - much of it appearing for the first time on CD in this set. With original covers and a new essay by Peter Quantrill, the set presents a new and compelling case for a 20th-century genius to whom almost nothing was foreign.
Igor Markevitch's complete recordings for Philips, made between 1959 and 1968, including several recordings new to CD. Igor Markevitch made his debut on the Philips label in 1959 with a pair of symphonies by Haydn, conducting the Parisian Lamoureux Orchestra, whose fortunes he had begun to revive two years previously. He had embarked on a full-time career as a conductor less than 15 years earlier, having been one of the most original voices of European music before the war. Yet he switched from composition studio to podium with the apparent ease and brilliance that marked everything else this polymath did: fluent in many languages, author of several books, teacher of conducting almost as soon as he had made it his own career, director of ensembles on both sides of the Atlantic, from Montreal and Havana to Madrid and Rome. His decade of association with the Dutch label produced meticulously prepared performances of the widest range of repertoire: no other conductor can yet claim to have recorded both Victoria's Magnificat and Tchaikovsky's 1812. There are concertos by Mozart, Beethoven and Falla with Clara Haskil, whom Markevitch saw play Schumann at the very first concert he attended as a nine-year-old. The Lamoureux association also produced French-accented Beethoven and naturally idiomatic Bizet, but once that came to an acrimonious end in 1961, he began to make records in Moscow (vocal works by Brahms, Kodaly, Mussorgsky, Tcherepnin and Verdi, including a famously intense version of the Requiem) and London: his Tchaikovsky cycle with the LSO (1962-7, including one of the first ever complete recordings of Manfred) soon became a staple of the Philips catalogue. Early in his career, Markevitch became renowned as an interpreter of his fellow Russo-French émigré, Stravinsky: a sympathy represented here by an authentically devotional, Russian recording of the Symphony of Psalms (long unavailable on Philips, like much else here), a French-made complete Soldier's Tale with Jean Cocteau and Peter Ustinov, and LSO recordings of Apollon musagète and the small orchestral suites. Further rarities include a disc of children's music (Bizet and Leopold Mozart) with the USSR State SO and the Spanish recordings made in the late 1960s, marking the end of his Philips contract. Having become music director of the Spanish Radio and TV orchestra in 1966, he recorded two albums of zarzuela highlights and surveys of choral music from Victoria to Mompou and Halffter, as well as more familiar repertoire by Granados, Albeníz and Falla - much of it appearing for the first time on CD in this set. With original covers and a new essay by Peter Quantrill, the set presents a new and compelling case for a 20th-century genius to whom almost nothing was foreign.
028948417445
Markevitch: The Philips Legacy
Artist: Igor Markevitch
Format: CD
New: Not currently available
Wish

Available Formats and Editions

DISC: 1

1. Franz Joseph Haydn - 1-4 Symphony No. 103 in E Flat Major, H.I:103 'Drum Roll'*
2. Franz Joseph Haydn - 5-8 Symphony No. 104 in D Major, H.I:104 'London'*
3. Carl Maria Von Weber - 9 Preciosa - Overture, Op. 78, J.279
4. Wolfgang Amadeus Mozart - 1-3 Piano Concerto No. 20 in D minor, KV 466
5. Wolfgang Amadeus Mozart - 4-6 Piano Concerto No. 24 in C minor, KV 491
6. Ludwig Van Beethoven - 1-4 Symphony No. 1 in C Major, Op. 21*
7. Ludwig Van Beethoven - 5-8 Symphony No. 5 in C minor, Op. 67*
8. Ludwig Van Beethoven - 9-12 Symphony No. 8 in F Major, Op. 93*
9. Ludwig Van Beethoven - 1-4 Symphony No. 9 in D minor, Op. 125 'Choral'*
10. Ludwig Van Beethoven - 1-3 Piano Concerto No. 3 in C minor, Op. 37
11. Frédéric Chopin - 4-6 Piano Concerto No. 2 in F minor, Op. 21
12. Alban Berg - 1-2 Violin Concerto 'To the Memory of An Angel'
13. Johannes Brahms - 3 Tragic Overture, Op. 81
14. Johannes Brahms - 4 Alto Rhapsody, Op. 53
15. Zoltán Kodály - 5 Psalmus Hungaricus, Op. 13
16. Georges Bizet - 1-5 Carmen - Suite No. 1
17. Georges Bizet - 6-10 Carmen - Suite No. 2
18. Georges Bizet - 11-14 L'arlésienne - Suite No. 1
19. Georges Bizet - 15-17 L'arlésienne - Suite No. 2
20. Pyotr Ilyich Tchaikovsky - 1-4 Symphony No. 1 in G minor, Op. 13, TH.24 'Winter Daydreams'
21. Pyotr Ilyich Tchaikovsky - 5-8 Symphony No. 2 in C minor, Op. 17, TH.25 'Little Russian'
22. Pyotr Ilyich Tchaikovsky - 1-5 Symphony No. 3 in D Major, Op. 29, TH.26 'Polish'
23. Pyotr Ilyich Tchaikovsky - 6 Francesca Da Rimini, Op. 32, TH.46 ^1
24. Pyotr Ilyich Tchaikovsky - 1-4 Symphony No. 4 in F minor, Op. 36, TH.27 ^1
25. Pyotr Ilyich Tchaikovsky - 5 Hamlet, Op. 67 ^1
26. Pyotr Ilyich Tchaikovsky - 1-4 Symphony No. 5 in E minor, Op. 64, TH.29 ^1
27. Pyotr Ilyich Tchaikovsky - 1-4 Symphony No. 6 in B minor, Op. 74, TH.30 'Pathétique' ^1
28. Pyotr Ilyich Tchaikovsky - 1-4 Manfred Symphony, Op. 58, TH.28 ^1
29. Nikolai Rimsky-Korsakov - 1-5 Capriccio Espagnol, Op. 34 ^1
30. Nikolai Rimsky-Korsakov - 6-9 Scheherazade, Op. 35 ^1
31. Pyotr Ilyich Tchaikovsky - 1 Ouverture Solennelle '1812,' Op. 49 ^1
32. Nikolai Rimsky-Korsakov - 2 Russian Easter Festival, Overture, Op. 36 ^1
33. Alexander Borodin - 3 Polovtsian Dances (From Prince Igor) ^1
34. Igor Stravinsky - 1-10 Apollon Musagète (1947 Version) ^1
35. Igor Stravinsky - 11-14 Suite No. 1 for Small Orchestra ^1
36. Igor Stravinsky - 15-18 Suite No. 2 for Small Orchestra ^1
37. Igor Stravinsky - 19-22 Four Norwegian Moods ^1
38. Igor Stravinsky - 23 Circus Polka for a Young Elephant ^1
39. Igor Stravinsky - 1-24 L'histoire Du Soldat ^1
40. Igor Stravinsky - 25-27 Symphonie de Psaumes ^1
41. Modest Mussorgsky - 1 Cradle Song ^1
42. Modest Mussorgsky - 2 the Magpie ^1
43. Modest Mussorgsky - 3 Night ^1
44. Modest Mussorgsky - 4 Where Art Thou, Little Star? ^1
45. Modest Mussorgsky - 5 the Ragamuffin ^1
46. Modest Mussorgsky - 6 on the Dnieper ^1
47. Nikolai Tcherepnin - 7-13 Tàti-Tàti* ^1
48. Leopold Mozart - 14-16 Toy Symphony (Cassation in G Major for Orchestra and Toys)° ^1
49. Georges Bizet - 17-21 Jeux D'enfants - Petite Suite, Op. 22° ^1
50. Giuseppe Verdi - 1 la Forza Del Destino - Sinfonia ^1
51. Giuseppe Verdi - 2 MacBeth - Ballet Music (Act III) ^1
52. Giuseppe Verdi - 3 la Traviata - Prelude (Act I) ^1
53. Giuseppe Verdi - 4 Luisa Miller - Overture ^1
54. Giuseppe Verdi - 5 Aida - Overture ^1
55. Giuseppe Verdi - 6 Giovanna D'arco - Overture ^1
56. Giuseppe Verdi - 7 la Traviata - Prelude (Act III) ^1
57. Giuseppe Verdi - 8 I Vespri Siciliani - Overture ^1
58. Giuseppe Verdi - 9-10 Requiem Et Kyrie ^2
59. Giuseppe Verdi - 1-19 Messa Da Requiem* ^2
60. Federico Mompou - 1-8 los Improperios ^2
61. Tomás Luis de Victoria - 9 Ave Maria ^2
62. Tomás Luis de Victoria - 10 Vexilla Regis ^2
63. Padre Jaime Ferrer - 11-16 Lamentación 1A ^2
64. Tomás Luis de Victoria - 1-8 Magnificat Primi Toni ^2
65. Oscar Esplá y Triay - 9-12 de Profundis ^2
66. Ernesto Halffter - 13 Canticum in P.P. Johannem XXIII ^2
67. Ignacio Ramoneda - 14 Veni Creator* ^2
68. Manuel de Falla - 1-7 Siete Canciones Populares Españolas* ^2
69. Isaac Albéniz - 8 Catalonia° ^2
70. Ernesto Halffter - 9 Fanfare (A la Memoria de Enrique Granados)* ^2
71. Enrique Granados - 10 Spanish Dance, Op. 37 No. 9 'Romantica'° ^2
72. Enrique Granados - 11 Spanish Dance, Op. 37 No. 4 'Villanesca'° ^2
73. Enrique Granados - 12 Intermezzo (From Goyescas)° ^2
74. Enrique Granados - 13 Zapateado (From Six Pieces on Spanish Folksongs)° ^2
75. Enrique Granados - 14 Spanish Dance, Op. 37 No. 8 'Asturiana'° ^2
76. Manuel de Falla - 1-3 Noches en los Jardines de España ^2
77. Manuel de Falla - 4-16 El Amor Brujo ^2
78. Emmanuel Chabrier - 17 España - Rapsodie Pour Orchestre ^2
79. Maurice Ravel - 18 Boléro ^2
80. Gerónimo Giménez - 1-3 la Tempranica (Excerpts) ^2
81. Amadeo Vives - 4-5 Doña Francisquita (Excerpts) ^2
82. Gerónimo Giménez - 6 El Baile de Luis Alonso: Intermedio ^2
83. Vicente Lleó Balbastre - 7 la Corte de Faraón: Son Las Mujeres de Babilonia - ¡Ay Ba! ^2
84. Pablo Luna - 8-10 El Niño Judio (Excerpts) ^2
85. Tomás Bretón - 11-13 la Verbena de la Paloma (Excerpts) ^2
86. Manuel Penella - 1 El Gato Montés: Pasadoble ^2
87. Francisco Alonso - 2 la Calesera: Dice El Rey Que Le Debe Guardar ^2
88. Ruperto Chapí y Lorente - 3-4 la Revoltosa (Excerpts) ^2
89. Federico Chueca - 5 Agua, Azucarillos y Aguardiente: Vivimos en la Ronda de Embajadores ^2
90. Gerónimo Giménez - 6 la Tempranica: Zapateado ^2
91. Gerónimo Giménez - 7 la Boda de Luis Alonso: Intermedio ^2
92. Ruperto Chapí y Lorente - 8 El Tambor de Granaderos: Preludio ^2
93. Francisco Asenjo Barbieri - 9-11 El Barberillo de Lavapiés (Excerpts) ^2
94. Ruperto Chapi y Lorente - 12 El Rey Que Rabio: Coro de Doctores ^2
95. Gerónimo Giménez - 13 Enseñanza Libre: Gavota ^2
96. Manuel Fernandez-Caballero - 14 Gigantes y Cabezudos: Jota

More Info:

Igor Markevitch's complete recordings for Philips, made between 1959 and 1968, including several recordings new to CD. Igor Markevitch made his debut on the Philips label in 1959 with a pair of symphonies by Haydn, conducting the Parisian Lamoureux Orchestra, whose fortunes he had begun to revive two years previously. He had embarked on a full-time career as a conductor less than 15 years earlier, having been one of the most original voices of European music before the war. Yet he switched from composition studio to podium with the apparent ease and brilliance that marked everything else this polymath did: fluent in many languages, author of several books, teacher of conducting almost as soon as he had made it his own career, director of ensembles on both sides of the Atlantic, from Montreal and Havana to Madrid and Rome. His decade of association with the Dutch label produced meticulously prepared performances of the widest range of repertoire: no other conductor can yet claim to have recorded both Victoria's Magnificat and Tchaikovsky's 1812. There are concertos by Mozart, Beethoven and Falla with Clara Haskil, whom Markevitch saw play Schumann at the very first concert he attended as a nine-year-old. The Lamoureux association also produced French-accented Beethoven and naturally idiomatic Bizet, but once that came to an acrimonious end in 1961, he began to make records in Moscow (vocal works by Brahms, Kodaly, Mussorgsky, Tcherepnin and Verdi, including a famously intense version of the Requiem) and London: his Tchaikovsky cycle with the LSO (1962-7, including one of the first ever complete recordings of Manfred) soon became a staple of the Philips catalogue. Early in his career, Markevitch became renowned as an interpreter of his fellow Russo-French émigré, Stravinsky: a sympathy represented here by an authentically devotional, Russian recording of the Symphony of Psalms (long unavailable on Philips, like much else here), a French-made complete Soldier's Tale with Jean Cocteau and Peter Ustinov, and LSO recordings of Apollon musagète and the small orchestral suites. Further rarities include a disc of children's music (Bizet and Leopold Mozart) with the USSR State SO and the Spanish recordings made in the late 1960s, marking the end of his Philips contract. Having become music director of the Spanish Radio and TV orchestra in 1966, he recorded two albums of zarzuela highlights and surveys of choral music from Victoria to Mompou and Halffter, as well as more familiar repertoire by Granados, Albeníz and Falla - much of it appearing for the first time on CD in this set. With original covers and a new essay by Peter Quantrill, the set presents a new and compelling case for a 20th-century genius to whom almost nothing was foreign.