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Pelléas et Mélisande: Schoenberg, Fauré
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Pelléas et Mélisande: Schoenberg, Fauré in Bloomington, MN
Current price: $22.99
Pelléas et Mélisande: Schoenberg, Fauré in Bloomington, MN
Current price: $22.99
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These recordings were made in 2012 (
Schoenberg
's
Pelleas und Melisande, Op. 5
) and 2014 (
Fauré
Pelléas et Mélisande, Op. 80
) in two different locations, and there is no word on why they languished in the vaults before being released in 2024 when they made classical best-seller charts. Despite the diverse origins, conductor
Paavo Järvi
and the
Frankfurt Radio Symphony
make them into a fully coherent unit. A book might be written about what made
Maurice Maeterlinck
's grim Symbolist love triangle so attractive to creative figures around the turn of the century. In addition to the
symphonic poem heard here, there is
Debussy
's opera
Pelléas et Mélisande
, and
Jean Sibelius
composed
incidental music for the play
, which was never all that well known in the first place. However, the first composer to take it up was
, in 1898, who wrote incidental music, had
Charles Koechlin
orchestrate it more fully, and made from that orchestration the short suite heard here.
's delicate music and the young
's, in full hyper-Wagnerian mode, could not be from more different worlds. What is most impressive is that
Järvi
and his musicians shift gears completely over the course of the album.
weaves big, passionate themes (Melisande gets the love tunes in the strings) into an elaborate set of leitmotifs, and even listeners who might be inclined to agree with the early reviewers who found the work hopelessly over-the-top will have to marvel at the sheer boldness of the thing. To
's credit, he revels in the music's rough edges rather than trying to smooth them down.
's piece is put into four regular movements but reflects its origins as incidental music, and it is a delightful set of graceful melodies that includes the
Sicilienne
, which listeners may know as a cello-and-piano work. The Frankfurt players handle the gossamer textures here as well as they do
's effusions, and
is one of the few conductors who could have pulled them both off so well. A real winner, even if it took more than ten years to get the music released. ~ James Manheim
Schoenberg
's
Pelleas und Melisande, Op. 5
) and 2014 (
Fauré
Pelléas et Mélisande, Op. 80
) in two different locations, and there is no word on why they languished in the vaults before being released in 2024 when they made classical best-seller charts. Despite the diverse origins, conductor
Paavo Järvi
and the
Frankfurt Radio Symphony
make them into a fully coherent unit. A book might be written about what made
Maurice Maeterlinck
's grim Symbolist love triangle so attractive to creative figures around the turn of the century. In addition to the
symphonic poem heard here, there is
Debussy
's opera
Pelléas et Mélisande
, and
Jean Sibelius
composed
incidental music for the play
, which was never all that well known in the first place. However, the first composer to take it up was
, in 1898, who wrote incidental music, had
Charles Koechlin
orchestrate it more fully, and made from that orchestration the short suite heard here.
's delicate music and the young
's, in full hyper-Wagnerian mode, could not be from more different worlds. What is most impressive is that
Järvi
and his musicians shift gears completely over the course of the album.
weaves big, passionate themes (Melisande gets the love tunes in the strings) into an elaborate set of leitmotifs, and even listeners who might be inclined to agree with the early reviewers who found the work hopelessly over-the-top will have to marvel at the sheer boldness of the thing. To
's credit, he revels in the music's rough edges rather than trying to smooth them down.
's piece is put into four regular movements but reflects its origins as incidental music, and it is a delightful set of graceful melodies that includes the
Sicilienne
, which listeners may know as a cello-and-piano work. The Frankfurt players handle the gossamer textures here as well as they do
's effusions, and
is one of the few conductors who could have pulled them both off so well. A real winner, even if it took more than ten years to get the music released. ~ James Manheim
These recordings were made in 2012 (
Schoenberg
's
Pelleas und Melisande, Op. 5
) and 2014 (
Fauré
Pelléas et Mélisande, Op. 80
) in two different locations, and there is no word on why they languished in the vaults before being released in 2024 when they made classical best-seller charts. Despite the diverse origins, conductor
Paavo Järvi
and the
Frankfurt Radio Symphony
make them into a fully coherent unit. A book might be written about what made
Maurice Maeterlinck
's grim Symbolist love triangle so attractive to creative figures around the turn of the century. In addition to the
symphonic poem heard here, there is
Debussy
's opera
Pelléas et Mélisande
, and
Jean Sibelius
composed
incidental music for the play
, which was never all that well known in the first place. However, the first composer to take it up was
, in 1898, who wrote incidental music, had
Charles Koechlin
orchestrate it more fully, and made from that orchestration the short suite heard here.
's delicate music and the young
's, in full hyper-Wagnerian mode, could not be from more different worlds. What is most impressive is that
Järvi
and his musicians shift gears completely over the course of the album.
weaves big, passionate themes (Melisande gets the love tunes in the strings) into an elaborate set of leitmotifs, and even listeners who might be inclined to agree with the early reviewers who found the work hopelessly over-the-top will have to marvel at the sheer boldness of the thing. To
's credit, he revels in the music's rough edges rather than trying to smooth them down.
's piece is put into four regular movements but reflects its origins as incidental music, and it is a delightful set of graceful melodies that includes the
Sicilienne
, which listeners may know as a cello-and-piano work. The Frankfurt players handle the gossamer textures here as well as they do
's effusions, and
is one of the few conductors who could have pulled them both off so well. A real winner, even if it took more than ten years to get the music released. ~ James Manheim
Schoenberg
's
Pelleas und Melisande, Op. 5
) and 2014 (
Fauré
Pelléas et Mélisande, Op. 80
) in two different locations, and there is no word on why they languished in the vaults before being released in 2024 when they made classical best-seller charts. Despite the diverse origins, conductor
Paavo Järvi
and the
Frankfurt Radio Symphony
make them into a fully coherent unit. A book might be written about what made
Maurice Maeterlinck
's grim Symbolist love triangle so attractive to creative figures around the turn of the century. In addition to the
symphonic poem heard here, there is
Debussy
's opera
Pelléas et Mélisande
, and
Jean Sibelius
composed
incidental music for the play
, which was never all that well known in the first place. However, the first composer to take it up was
, in 1898, who wrote incidental music, had
Charles Koechlin
orchestrate it more fully, and made from that orchestration the short suite heard here.
's delicate music and the young
's, in full hyper-Wagnerian mode, could not be from more different worlds. What is most impressive is that
Järvi
and his musicians shift gears completely over the course of the album.
weaves big, passionate themes (Melisande gets the love tunes in the strings) into an elaborate set of leitmotifs, and even listeners who might be inclined to agree with the early reviewers who found the work hopelessly over-the-top will have to marvel at the sheer boldness of the thing. To
's credit, he revels in the music's rough edges rather than trying to smooth them down.
's piece is put into four regular movements but reflects its origins as incidental music, and it is a delightful set of graceful melodies that includes the
Sicilienne
, which listeners may know as a cello-and-piano work. The Frankfurt players handle the gossamer textures here as well as they do
's effusions, and
is one of the few conductors who could have pulled them both off so well. A real winner, even if it took more than ten years to get the music released. ~ James Manheim
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