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All the reviews of the music seem to start the same: "not as inspired as the composer's Romeo and Juliet."I disagree. Prokofiev's "Cinderella" ballet is more astringent, but hardly less ingratiating and memorable than R&J if given a chance. (Much like trying to enjoy Rachmaninoff's 3rd Symphony in the same way one enjoys his 2nd.)
My association with this music began in the 80's when I picked up the US Angel box set with Rozhdestvensky and the Moscow Radio Symphony. (I know: curiously not "large" this time.)
I too was expecting R&J part II, and although bowled over right away by the lush Amoroso theme, I found my mind wandering throughout most of the rest because of the relative "lightness" and ostensible "light-heartedness" of the music.
The great "Duet of the Prince and Cinderella" (the ballet's "Balcony Scene"), initially disappointed me as well (bizarre echos of Copland!) but now I find the grinding, angular climax(s) of the Cinderella love scene equally effective as orgasmic metaphor.
Other gems include the hustling/bustling music of "Purveyors and the Sisters' new Clothes," the mischievous solo violin in the "Dance Lesson," the magical, delicate, balmy music of the "Summer Fairy," the remarkable, hallucinatory "Midnight" scene...I could go on and on. And I will: The "Amoroso" theme, reprised in the glorious finale, is the greatest moment of all. Those who only own the Orchestral Suites 1&2 are missing out; it's not included.
On Lp box set I know Previn's, Ashkenazy's, (digital); and I should also mention Slatkin's 1 Lp synthesis, (also digital).
None capture the liveliness, fun, fantasy, edginess and ardor that Rozhdestvensky captures, and his musicians are right there with him. Just marvel at the preciseness of ensemble in the "Purveyors of the Sisters' New Clothes" (Vivo!) -- they're right up there with the Cleveland. The other versions are too soft-edged (Slatkin), stiff-lipped (Ashkenazy), or sugary (Previn).
I don't know of anyone who makes a better case for this music--all of it--than Rozhdestvensky. (If you can only handle the Suites, go with Ansermet.)
The Melodiya recording can be had as an original, a UK HMV (which I now proudly own, pictured above), a spartan MHS gatefold, a Eurodisc or a US Angel. I'd recommend the HMV or Eurodisc.
The greatest news of all is that the Melodiya engineers were on their toes that day: the Russian strings come closest yet to something that could be called silkiness. Climaxes are given an unusual amount of headroom, percussion has a nice bite, bells glimmer and there's a good sense of hall space. Only the slightest touches of harshness once and awhile.
A set to be cherished. And not collectable. What more can one want?
Edits: 05/03/15Follow Ups:
Thanks for the tip, I'll grab that one if I see it. I agree completely regarding Cinderella. It's great ballet music that also works well as orchestral music.
There is a very good LP by Stokowski of his own suite from this music on Everest, along with an atmospheric evocation of the Brazilian jungle by Villa Lobos called Uirapuru. Pictured is a reissue, which I've heard is even better than the original I have.
I really like Previn on EMI. It is digital, but sounds spectacular; lots of detail, warmth and space, realistic. And terrific performance. I agree that it should not play 2nd fiddle to R et J.
"Cinderella love scene equally effective as orgasmic metaphor"
Oh, dear. Does somebody have one of these in the Cinderella story? Only in our sex-drenched culture?
Off the top of my head, I can think of those horn whoop-whoop-whoops in the opening of Strauss' Rosenkavalier, and the ultra-high up-bowed, solo cello grunts toward the end of Salome.
In Tristan, the repeated "slamming" cello runs right before the lovers get caught.... Wow.
The orchestral Prelude to the third act is right up there with the opening of Rosenkavalier. From the carefully worded notes in the Decca recording:
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Got large by the time it made it to CD. :-)
Sadly do not have this on vinyl. Do have Romeo and Juliet, so there's that.
I have always liked Cinderella as much or more than Romeo and Juliet. I do like the Ansermet excerpts on Decca, it's a shame that they didn't record the whole thing. The clock striking midnight on the Ansermet is positively frightening! I have the Ashkenazy, which is not bad, but I do not know the Rozhdestvensky. I will definitely have to try to find a copy.
One of my favorite ballets to perform - very underrated, indeed.
Yeah, I even love it in the piano transcription.
"If people don't want to come, nothing will stop them" - Sol Hurok
I actually learned the piano reduction of the final Op 102 Amoroso. Took years to get it under my fingers as there's very little repetition in the underlying filigree.
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