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The Miraculous Mandarin
Béla Bartók

Philharmonia Orchestra

The Miraculous Mandarin

Price: € 19.95
Format: CD
Label: Signum Classics
UPC: 0635212046623
Catnr: SIGCD 466
Release date: 07 October 2016
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Label
Signum Classics
UPC
0635212046623
Catalogue number
SIGCD 466
Release date
07 October 2016
Album
Artist(s)
Composer(s)
EN
NL

About the album

Recorded as part of their critically praised Infernal Dance season, the Philharmonia Orchestra under Esa-Pekka Salonen explore three contrasting works by Bela Bartok - the chamber piece Contrasts and the orchestral works Dance Suite and The Miraculous Mandarin. Contrasts is one of Bartok's most imaginative forays into the world of chamber music while Dance Suite is a rhapsodic collection of folk inspired tunes. The Miraculous Mandarin is raw, dangerous, exotic and elemtnal.
Live-opname uit een hooggewaardeerd Bartókseizoen van Philharmonia Orchestra
Het Philharmonia Orchestra onder leiding van Esa-Pekka Salonen verkent op deze opname, die deel uitmaakt van het hooggeprezen Infernal Dance seizoen, drie contrasterende werken van Béla Bartók – het kamermuziekwerk Contrasts en de orkestwerken Dance Suite en The Miraculous Mandarin.

Contrasts is een van Bartóks meest fantasierijke uitstapjes naar de wereld van de kamermuziek. Het speelt met de contrasten in en bereik en klankkleur tussen de klarinet en de viool.

Dance Suite is een rapsodische collectie stukken geïnspireerd door volksmuziek. Bartok componeerde de suite in 1923 voor de 50e verjaardag van de stad Budapest. In tegenstelling tot de werken die hij in de vier jaar daarvoor componeerde, is de suite optimistisch en minder dissonant.

De rauwe, gevaarlijke en exotische muziek bij het pantomime The Miraculous Mandarin is Bartóks antwoord op Stravinsky’s Le Sacre du Printemps. De ritmes zijn weliswaar minder gewaagd, maar de opbouw is net zo fragmentarisch en het werk toont Bartóks vaardigheden als orkestcomponist op zijn best.

Philharmonia Orchestra staat vooraan op het gebied van kwaliteit, en wordt erkend als het meest vooraanstaande vernieuwende orkest uit het Verenigd Koninkrijk. Het orkest onderhoudt betrekkingen met de meest gewilde artiesten en bevindt zich in de kern van het Britse muzikale leven.

Artist(s)

Esa-Pekka Salonen (conductor)

Esa-Pekka Salonen’s restless innovation drives him constantly to reposition classical music in the 21st century. In 2020, he will become the Music Director of the San Francisco Symphony. Until the end of the season 2020-2021, he is the Principal Conductor and Artistic Advisor for London’s Philharmonia Orchestra, where the award-winning RE-RITE and Universe of Sound installations have allowed people all over the world to step inside the orchestra through audio and video projections. Salonen also drove the development of a much-hailed app for iPad, The Orchestra, which gives the user unprecedented access to the internal workings of eight symphonic works.  As the Music Director of the Los Angeles Philharmonic, where he is now Conductor Laureate, Salonen was instrumental in opening the...
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Esa-Pekka Salonen’s restless innovation drives him constantly to reposition classical music in the 21st century. In 2020, he will become the Music Director of the San Francisco Symphony. Until the end of the season 2020-2021, he is the Principal Conductor and Artistic Advisor for London’s Philharmonia Orchestra, where the award-winning RE-RITE and Universe of Sound installations have allowed people all over the world to step inside the orchestra through audio and video projections. Salonen also drove the development of a much-hailed app for iPad, The Orchestra, which gives the user unprecedented access to the internal workings of eight symphonic works. As the Music Director of the Los Angeles Philharmonic, where he is now Conductor Laureate, Salonen was instrumental in opening the Frank Gehry-designed Walt Disney Concert Hall and made the orchestra one of the best attended and funded in the country. He is the Marie-Josée Kravis Composer-in-Residence at the New York Philharmonic and Artist in Association at the Finnish National Opera and Ballet. Additionally, Salonen is Artistic Director and cofounder of the annual Baltic Sea Festival.
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Zsolt-Tihamér Visontay (violin)

German-Hungarian violinist Zsolt-Tihamér Visontay is a laureate of several international solo prizes. His solo engagements include performing with a number of German orchestras. In 2005 he became Leader of the European Union Youth Orchestra (EUYO), performing under conductors including h and a year later he also became Concert Master of the Philharmonic Orchestra in Altenburg-Gera. He has led orchestras such as the Radio Symphony Orchestra Berlin, Hamburg Philharmonic, London Symphony Orchestra, Academy of St Martin in the Fields, Royal Scottish National Orchestra, Orchestra Nacional de Porto, City of Birmingham Symphony Orchestra and Bamberg Symphony Orchestra, touring throughout Europe, Russia, Asia and the US.   In 2007, at the age of 24, he became Joint Concert Master of the Philharmonia Orchestra. Since then his...
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German-Hungarian violinist Zsolt-Tihamér Visontay is a laureate of several international solo prizes. His solo engagements include performing with a number of German orchestras. In 2005 he became Leader of the European Union Youth Orchestra (EUYO), performing under conductors including h and a year later he also became Concert Master of the Philharmonic Orchestra in Altenburg-Gera. He has led orchestras such as the Radio Symphony Orchestra Berlin, Hamburg Philharmonic, London Symphony Orchestra, Academy of St Martin in the Fields, Royal Scottish National Orchestra, Orchestra Nacional de Porto, City of Birmingham Symphony Orchestra and Bamberg Symphony Orchestra, touring throughout Europe, Russia, Asia and the US.
In 2007, at the age of 24, he became Joint Concert Master of the Philharmonia Orchestra. Since then his solo engagements with the Orchestra have included performing The Lark Ascending under both David Hill and Sir Andrew Davis. He has recorded the John Jeffreys Violin Concerto with the Philharmonia and Paul Bateman. In addition he has acted as violinist/director with the Philharmonia and the Academy of St Martin in the Fields.
Established as a sought-after chamber musician, he has performed and recorded Bartók's Contrasts with Mark van de Wiel and Yefim Bronfman; and has recorded Rachmaninov piano trios with Mats Lidstroem and Vladimir Ashkenazy.
Collaborating with those artists already mentioned as well as many others including Min-Jung Kym and Jamie Walton, he performs in major venues such as the Mozartsaal, Vienna; Salle Gaveau, Paris; and Wigmore Hall, London.

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Mark Van de Wiel (clarinet)

As principal clarinet of the Philharmonia Orchestra and the London Sinfonietta, and a well-known soloist, Mark van de Wiel performs at major venues throughout the world. He has given several London premieres in the Philharmonia’s Music of Today series, and elsewhere the Spanish première of the Carter Concerto, the UK première of the Carter Clarinet Quintet, and of Sir John Taverner’s Cantus Mysticus (at the Proms), and the London première of Graham Fitkin’s Agnostic. Recordings include Ben Foskett’s Hornet, Philip Cashian’s Blue Circus and Flint Juventino Beppe’s Distant Words with the Philharmonia and Vladimir Ashkenazy. Mark has been the clarinettist with Endymion since its formation in 1980. Other chamber music collaborators have included Pascal Rogé, Geoffrey Parsons, Elizabeth Leonskaja, Kate Royal and the Brodsky Quartet, with whom he gave the London première of Sir Peter Maxwell...
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As principal clarinet of the Philharmonia Orchestra and the London Sinfonietta, and a well-known soloist, Mark van de Wiel performs at major venues throughout the world. He has given several London premieres in the Philharmonia’s Music of Today series, and elsewhere the Spanish première of the Carter Concerto, the UK première of the Carter Clarinet Quintet, and of Sir John Taverner’s Cantus Mysticus (at the Proms), and the London première of Graham Fitkin’s Agnostic. Recordings include Ben Foskett’s Hornet, Philip Cashian’s Blue Circus and Flint Juventino Beppe’s Distant Words with the Philharmonia and Vladimir Ashkenazy.

Mark has been the clarinettist with Endymion since its formation in 1980. Other chamber music collaborators have included Pascal Rogé, Geoffrey Parsons, Elizabeth Leonskaja, Kate Royal and the Brodsky Quartet, with whom he gave the London première of Sir Peter Maxwell Davies’s Hymn to Artemis Locheia. With Zsolt-Tihamėr Visontay and Yefim Bronfman he gave several performances of Bartok’s Contrasts in the Philharmonia’s Bartok series Infernal Dance. Other highlights have included the Mozart Quintet in Brazil, and the Berio Sequenza at the Sydney Opera House.

Mark was appointed principal clarinettist with Welsh National Opera and subsequently with Glyndebourne Touring Opera. He joined the Philharmonia as principal clarinet in 2000, and the London Sinfonietta in 2002. He is also principal with the London Chamber Orchestra (with whom he has appeared as soloist at La Scala, Milan). For several years he was the clarinet and basset horn soloist in Mozart’s Clemenza di Tito at the Bayerisches Staatsoper. Mark is the clarinet professor for the I, Culture Orchestra, and for the British Isles Music Festival. He is a committed teacher, and has given masterclasses world-wide.


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Composer(s)

Béla Bartók

Next to Arnold Schoenberg and Igor Stravinsky, Béla Bartók was a third seminal innovator of European art music at the start of the twentieth century. Bartók, too, sought a way out of the deadlock of tonal music around 1900, and he found it in folk music. Initially, he tied in with the nationalistic tradition of Franz Liszt with his tone poem Kossuth, but eventually he found his own voice with the rediscovery of the music of Hungarian peasants. Together with Zoltán Kodály he was one of the first to apply the results of folkloric research into his own compositions. One major difference between him and composers of the 19th century, was that Bartók did not adjust to the system of tonality, but created...
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Next to Arnold Schoenberg and Igor Stravinsky, Béla Bartók was a third seminal innovator of European art music at the start of the twentieth century. Bartók, too, sought a way out of the deadlock of tonal music around 1900, and he found it in folk music. Initially, he tied in with the nationalistic tradition of Franz Liszt with his tone poem Kossuth, but eventually he found his own voice with the rediscovery of the music of Hungarian peasants. Together with Zoltán Kodály he was one of the first to apply the results of folkloric research into his own compositions. One major difference between him and composers of the 19th century, was that Bartók did not adjust to the system of tonality, but created his own musical idiom from folk music. Because of this, his composition style was flexible to other musical trends, without having to violate his own view points. For example, his two Violin sonates come close to Schoenberg's free expressionism, and after 1926 his music started to show neoclassicistic tendencies, comparable to Stravinsky's music. Bartók was not just interested in Hungarian folk music, but could appreciate musical folklore from all of the Balkan, Turkey and North-Africa as well.
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Press

Play album Play album
01.
The Miraculous Mandarin, Sz. 73: Introduction - A Bustling City Street
03:29
(Bela Bartók) Philharmonia Orchestra
02.
The Miraculous Mandarin, Sz. 73: 1st Decoy Game
03:39
(Bela Bartók) Philharmonia Orchestra
03.
The Miraculous Mandarin, Sz. 73: 2nd Decoy Game
03:21
(Bela Bartók) Philharmonia Orchestra
04.
The Miraculous Mandarin, Sz. 73: 3rd Decoy Game
01:39
(Bela Bartók) Philharmonia Orchestra
05.
The Miraculous Mandarin, Sz. 73: The Mandarin Enters …
07:25
(Bela Bartók) Philharmonia Orchestra
06.
The Miraculous Mandarin, Sz. 73: The Girl Sinks Down …
02:16
(Bela Bartók) Philharmonia Orchestra
07.
The Miraculous Mandarin, Sz. 73: The Tramps Leap Out …
02:32
(Bela Bartók) Philharmonia Orchestra
08.
The Miraculous Mandarin, Sz. 73: Suddenly the Mandarin's Head Appears Between the Pillows
03:15
(Bela Bartók) Philharmonia Orchestra
09.
The Miraculous Mandarin, Sz. 73: The Terrified Tramps Discuss How They Are to Get Rid of the Mandarin
02:04
(Bela Bartók) Philharmonia Orchestra
10.
The Miraculous Mandarin, Sz. 73: The Body of the Mandarin Begins to Glow
01:49
(Bela Bartók) Philharmonia Orchestra, Philharmonia Voices
11.
The Miraculous Mandarin, Sz. 73: The Mandarin Falls on the Floor
02:33
(Bela Bartók) Philharmonia Orchestra
12.
Dance Suite, Sz. 77: I. Moderato
03:35
(Bela Bartók) Philharmonia Orchestra
13.
Dance Suite, Sz. 77: II. Allegro molto
02:19
(Bela Bartók) Philharmonia Orchestra
14.
Dance Suite, Sz. 77: III. Allegro vivace
03:07
(Bela Bartók) Philharmonia Orchestra
15.
Dance Suite, Sz. 77: IV. Molto tranquillo
03:27
(Bela Bartók) Philharmonia Orchestra
16.
Dance Suite, Sz. 77: V. Commodo – Finale
05:00
(Bela Bartók) Philharmonia Orchestra
17.
Contrasts, Sz. 111: I. Verbunkos (Recruiting Dance)
05:30
(Bela Bartók) Yefim Bronfman, Zsolt-Tihamér Visontay, Mark Van de Wiel
18.
Contrasts, Sz. 111: II. Pihen? (Relaxation)
04:39
(Bela Bartók) Yefim Bronfman, Mark Van de Wiel, Zsolt-Tihamér Visontay
19.
Contrasts, Sz. 111: III. Sebes (Fast Dance)
06:50
(Bela Bartók) Yefim Bronfman, Zsolt-Tihamér Visontay, Mark Van de Wiel
show all tracks

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