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Dukelsky: Zéphyr et Flore
The Classical Shop
release date: November 1999
Recorded in 24 Bit / 44.1Khz
album available as a Studio File
Originally recorded in 1999
Residentie Orchestra The Hague
Netherlands Theatre Choir
Dr Anton Philipszaal, The Hague, The Netherlands
Orchestral & Concertos
Total Time - 54:54
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Zéphyr et Flore
Ouverture et concert des Muses
Allegro comodo (Introduction) - Tempo di valse e Trio - Deciso - Allegro
Divertissements des Muses
Variation 1: Giacoso
Variation 2: Quasi toccata
Variation 3: Molto mesto
Variation 4: Allegretto comodo
Variation 5: Risoluto
Coda: Andante ma non troppo
Con moto incalzando - Tempo di marcia - Molto adagio, poco lamentoso
Gennady Rozhdestvensky conducts the premiere recording of Dukelsky’s ballet score Zephir et Flore, together with the premiere recording of Epitaphe.
This is the second disc in the on-going series of rare Russian ballet scores conducted by Rozhdestvensky. He has won many awards for his previous interpretations of Russian ballet music on Chandos, particularly his Shostakovich recordings.
It is interesting to note that although born Russian, Vladimir Dukelsky later in his life also composed popular music under the mane Vernon Duke. It was under this name that he wrote the hugely successful Ziegfeld Follies, Cabin in the Sky and Walk a little Faster.
The Residentie Orchestra The Hague has released several discs under the baton of maestro Rozhdestvensly to great acclaim, including Shostakovich’s comic opera Moskva, Cheryomuski (CHAN 9591), Nikolai Tcherepnin’s ballet Narcisse et Echo (CHAN 9670), and Scriabin orchestral works (CHAN 9728)
Born and educated in Russian Vladimir Dukelsky arrived in American in 1922 and during the following three years discovered ‘Negro music’ and jazz. His melodic manner was compared to that of Gershwin, who was ‘his chief mentor in the field of ‘light’ music’. In 1925 Prokofiev invited Dukelsky to his home and was so delighted by his ballet Zéphy et Flore that he wrote about it in his article ‘The 1925 Spring Season in Paris’, describing it as the most interesting thing this season. Although Prokofiev was not quite as enthusiastic about Dukelsky’s progress in the field of ‘commercial’ music, he devotedly and persistently promoted the music of the younger composer both in the West and the USSR.
Dukelsky was the first Russian composer who engaged with equal enthusiasm in the composition of light music and serious music. W. Austin, in his Music in the 20th century, notes Dukelsky’s fondness for ‘juggling’ styles without making the slightest attempt to draw them together into a synthesis. He wrote a good deal of serious music – including symphonies and concertos – trying different genres and moving from the imitation of Scriabin and the Impressionists in the years of his youth in Kiev to the clear and melodious manner of his European period and later to a contrapuntal way of writing with free voice-leading.
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