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CHAN 10537
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CHAN 10537

Prokofiev: October Cantata/ Excerpts from 'The Stone Flower'

Released Date:
01 Aug 2009

Originally recorded in 2008
Artists:

Philharmonia Orchestra


Neeme Jarvi


Gennady Rozhdestvensky

speaker

Philharmonia Chorus



Venue:

All Saints' Church, Tooting, London



Producer:

Brian Couzens



Engineer:

Ralph Couzens


Ben Connellan

(Assistant)

Record Label
Chandos Classics

Genre:

Orchestral & Concertos


Choir

Total Time - 72:13
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SERGEI PROKOFIEV

(1891-1953)
   
 

Cantata for the 20th Anniversary of the October Revolution, Op. 74

 46:32  
1 I Prelude. Moderato - Allegro 2:39
2 II The Philosophers. Andante assai 2:29
3 III Interlude. Allegro - Andante - Adagio 1:29
4 IV 'A tight little band'. Allegretto 2:31
5 V Interlude. Tempestoso 1:18
6 VI Revolution. Andante non troppo - Più mosso - Allegro moderato - 10:33
7 VII Victory. Andante 6:08
8 VIII The Oath. Andante pesante 7:49
9 IX Symphony. Allegro energico - Meno mosso 5:59
10 X The Constitution. Andante assai - Andante molto 5:33
 Gennady Rozhdestvensky speaker
 

Excerpts from 'The Tale of the Stone Flower', Op. 118

 25:58  
11 Ural Rhapsody (Act III No. 29) 9:02
12 Katerina sits by the fire (Act IV No. 39) 2:02
13 Scene and Dance of Katerina (Act IV No. 40) 2:21
14 Russian Dance (Act III No. 31) 4:11
15 Gypsy Dance (Act III No. 32) 2:56
16 Severyan's Dance (Act III No. 33) 1:31
17 Solo of the Gypsy Girl and Coda (Act III No. 34) 3:42
This was the first complete recording of Prokofiev’s Cantata for the 20th anniversary of the October Revolution, and is now released on Chandos Classics.

It is good to have so sharply original and refreshingly dramatic a piece complete on disc at last, and occasional disc that rises far above its first inspiration. As a valuable fill-up comes a suite of excerpts from the folk-tale ballet of 1948, The Stone Flower. .
3 stars, Penguin Guide

“…with the Philharmonia Chorus and Orchestra on top form under the inspired leadership of Jarvi. The central movement, ‘Revolution’, is particularly effective in its use of the chorus (singing and speaking in admirable Russian) and an extended percussion ensemble. The fill-up is a valuable suite of excerpts from a folk-tale ballet of 1948…”


Philip Reed                       

Choir & Organ Magazine - Jan/Feb 2010



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