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Stravinsky: Complete Music for Violin & Piano ()

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composed by Igor Stravinsky

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Stravinsky: Complete Music for Violin & Piano - Anthony Marwood (violin); Thomas Adès (piano)
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  1. Suite d'après thèmes, fragments et pièces de Giambattista Pergolesi, for violin & piano
  2. Pastorale, song without words for violin & piano (transcribed with Samuel Dushkin)
  3. Chants du Rossignol et Marche Chinoise, for violin & piano (transcribed with Samuel Dushkin): Airs du rissignol
  4. Duo Concertante, for violin & piano
  5. Berceuse, for violin & piano (after L'Oiseau de Feu, transcribed by Stravinsky)
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  1. Suite d'après thèmes, fragments et pièces de Giambattista Pergolesi, for violin & piano
  2. Pastorale, song without words for violin & piano (transcribed with Samuel Dushkin)
  3. Chants du Rossignol et Marche Chinoise, for violin & piano (transcribed with Samuel Dushkin): Airs du rissignol
  4. Duo Concertante, for violin & piano
  5. Berceuse, for violin & piano (after L'Oiseau de Feu, transcribed by Stravinsky)
  6. Prélude et Ronde des Princesses, transcription for violin & piano (after L'Oiseau de feu)
  7. Scherzo, transcribed for violin & piano (after L'oiseau de feu, with Samuel Dushkin)
  8. Chanson Russes, for violin & piano ("Parasha's Aria")
  9. Divertimento, transcription for violin & piano by Stravinsky & Samuel Dushkin (after The Fairy's Kiss)
  10. Russian Dance, transcription for violin & piano (after Petrushka, with Samuel Dushkin)
  11. Tango, for piano
  12. Ballad, for violin & piano (from The Fairy's Kiss, transcibed by Stravinsky & Jeanne Gautier)
  13. Suite Italienne, for violin & piano (after Pulcinella, transcribed with Samuel Dushkin): Scherzino
  14. La Marseillaise, transcription for violin solo (after Rouget de Lisle)
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Transcribing works for violin and piano might have seemed an unusual sideline for Igor Stravinsky, who famously complained about the violin's resemblance to the human voice, and who found using strings for their emotive value antithetical to his pursuit of a cool, "objective" tone. He preferred using woodwinds because their tone colors were less evocative of singing, and he generally neglected the violin until practical considerations, stemming from the composition of his Violin Concerto, led to this new practice. ...

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Stravinsky: Complete Music for Violin & Piano 2010, Hyperion

UPC: 034571177236

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