Oedipus Rex

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Oedipus Rex

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dc.contributor.other Igor Stravinsky es
dc.contributor.other Swedish Radio Chorus es
dc.contributor.other The Eric Ericson Chamber Choir es
dc.contributor.other Orphei Drängar es
dc.contributor.other Swedish Radio Symphony Orchestra es
dc.contributor.other Esa-Pekka Salonen es
dc.coverage.spatial Stockholm - Sweden es
dc.date.accessioned 2013-09-05T16:17:35Z
dc.date.available 1992
dc.date.available 2013-09-05T16:17:35Z
dc.date.copyright 1992
dc.date.issued 2013-09-05
dc.identifier.uri http://hdl.handle.net/123456789/3809
dc.description.abstract Igor Stravinsky was one of music's truly epochal innovators; no other composer of the twentieth century exerted such a pervasive influence or dominated his art in the way that Stravinsky did during his five-decade musical career. Aside from purely technical considerations such as rhythm and harmony, the most important hallmark of Stravinsky's style is, indeed, its changing face. Emerging from the spirit of late Russian nationalism and ending his career with a thorny, individual language steeped in twelve-tone principles, Stravinsky assumed a number of aesthetic guises throughout the course of his development while always retaining a distinctive, essential identity. Although he was the son of one of the Mariinsky Theater's principal basses and a talented amateur pianist, Stravinsky had no more musical training than that of any other Russian upper-class child. He entered law school, but also began private composition and orchestration studies with Nicolai Rimsky-Korsakov. By 1909, the orchestral works Scherzo fantastique and Fireworks had impressed Sergei Diaghilev enough for him to ask Stravinsky to orchestrate, and subsequently compose, ballets for his company. Stravinsky's triad of early ballets—The Firebird (1909-1910), Petrushka (1910-1911), and most importantly, The Rite of Spring (1911-1913)—did more to establish his reputation than any of his other works; indeed, the riot which followed the premiere of The Rite is one of the most notorious events in music history. Stravinsky and his family spent the war years in Switzerland, returning to France in 1920. His jazz-inflected essays of the 1910s and 1920s—notably, Ragtime (1918) and The Soldier's Tale (1918)—gave way to one of the composer's most influential aesthetic turns. The neo-Classical tautness of works as diverse as the ballet Pulcinella (1919-1920), the Symphony of Psalms (1930) and, decades later, the opera The Rake's Progress (1948-1951) made a widespread impact and had an especial influence upon the fledgling school of American composers that looked to Stravinsky as its primary model. He had begun touring as a conductor and pianist, generally performing his own works. In the 1930s, he toured the Americas and wrote several pieces fulfilling American commissions, including the Concerto in E flat, "Dumbarton Oaks." After the deaths of his daughter, his wife, and his mother within a period of less than a year, Stravinsky emmigrated to America, settling in California with his second wife in 1940. His works between 1940 and 1950 show a mixture of styles, but still seem centered on Russian or French traditions. Stravinsky's cultural perspective was changed after Robert Craft became his musical assistant, handling rehearsals for Stravinsky, traveling with him, and later, co-authoring his memoirs. Craft is credited with helping Stravinsky accept 12-tone composition as one of the tools of his trade. Characteristically, though, he made novel use of such principles in his own music, producing works in a highly original vein: Movements (1958-1959) for piano and orchestra, Variations: Aldous Huxley in Memoriam (1963), and the Requiem Canticles (1965-1966) are among the most striking. Craft prepared the musicians for the exemplary series of Columbia Records LPs Stravinsky conducted through the stereo era, covering virtually all his significant works. Despite declining health in his last years, Stravinsky continued to compose until just before his death in April 1971. © AMG, All Music Guide es
dc.description.tableofcontents Oedipus rex ; Prologue : ‘‘Spectateurs! Vous allez entendre une version latine d'Oedipe-Roi’’-- Oedipus rex ; Act 1 : ‘‘Caedit nos pestis’’, ‘‘Liberi, vos liberado’’, ‘‘Respondit deus’’, ‘‘Non reperias vetus scelus’’, ‘‘Oedipe interroge la fontaine de vérité’’, ‘‘Dicere non possum’’, ‘‘Rex peremptor regis est’’ - ‘‘Invidia fortunam odit’’, ‘‘Gloria!’’-- Oedipus rex ; Act 2 : ‘‘La dispute des princes attire Jocaste’’, ‘‘Gloria!’’, ‘‘Nonn’ erubescite reges’’, ‘‘Ne probentur oracula’’, ‘‘Cave oracula!’’ - ‘‘Trivium, trivium...’’, ‘‘Oracula mentiuntur’’, ‘‘Le témoin du meurtre sort de l’ombre’’, ‘‘Adest omniscius pastor’’, ‘‘Oportebat tacere’’, ‘‘Nonne monstrum rescituri’’, ‘‘In monte reppertus est’’, ‘‘Natus sum quo nefastum est’’, ‘‘Et maintenant vous allez entendre’’, ‘‘Divum Iocastae caput mortuum!’’, ‘‘Ecce! Regem Oedipoda’’-- es
dc.format.extent 95:69min es
dc.format.medium 1 CD Rom (95 min.,69 seg) : Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.m Estéreo es
dc.subject.lcc 26530520 es
dc.subject.lcsh Oratorios, Operas es
dc.title Oedipus Rex es
dc.title.alternative Oedipus Rex opera-oratorio in 2 acts after Sophocles es
dc.language.rfc3066 eng es
dc.rights.holder Sony Classical GmbH es
dc.identifier.classification 07464480572 es
dc.subject.cdu Str.09 es


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Oedipus rex - Prologue.wav 48 8.079Mb WAV audio wav
Oedipus rex - Act 1.wav 22:39 228.6Mb WAV audio wav
Oedipus rex - Act 2.wav 26:31 267.6Mb WAV audio wav

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