Complete your Debussy, Ravel - Berliner Philharmoniker · Herbert von Karajan collection. Recording: Berlin, e, 3/1964 (La Mer, Prélude À L'Après-Midi D'Un Faune, Daphnis Et Chloé). La Mer : Trois Esquisses Symphoniques. e L'Aube À Midi Sur La Mer (Vom Morgengrauen Bis Zum Mittag Auf Dem Meer). eux De Vagues (Spiel Der Wellen). ialogue Du Vent Et De La Mer (Zwiesprache Des Windes Und Des Meeres). Daphnis Et Chloé, Suite N° 2. Lever Du Jour · Pantomime · Danse Générale. Prélude À L'Après-Midi D'Un Faune (Vorspiel Zum Nachmittag Eines Fauns).
Prélude À L'Après-Midi D'Un Faune. Composed By – Claude DebussyFlute – Karlheinz Zöller. Claude Debussy, Maurice Ravel, Berlin Philharmonic Orchestra, Herbert von Karajan - Karajan Conducts 101 Masterpieces (LP, RE). Deutsche Grammophon.
Ravel: Daphnis & Chloë - Suite N., . 7b by Berliner Philharmoniker and Herbert von Karajan. What makes Karajan such a superb French conductor isn't just precision and clarity, two virtues we associate with this genre, but his poetic imaginaiton. Where Boulez is crystalline and sparkling in La Mer, Karajan is romantic and delicate. He expresses the music in long sweeps of feeling, but each bar is full of color and nuance. Herbert Karajan was the greatest conductor to record, along side of Neville Marriner. Karajan has done the Debussy Prelude justice, along with the Haitink, which may be more powerful, oddly enough. But La Mer in Karajan's hands is powerful and expansive, yet subtle and lovely. I bought this mainly for Ravel's Bolero, and that is wonderful and quiet version, not as boisterous as other versions.
Herbert von Karajan, Berlin Philharmonic Orchestra. Debussy: La Mer; Prélude à l'après-midi d'un Faune; Ravel: Daphnis et Chloé Suite No. 2; Pavane.
Herbert von Karajan and the Berliner Philharmoniker are many things, but they are not French. And while critics have complained that in these performances La Mer sounds like the North Sea, Daphnis et Chloé sounds like Siegfried und Brünnhilde, and Boléro sounds like a polka, it's simply not true. Naturally, they don't sound French: the lightness, elegance, and luminosity that are hallmarks of the French style are wholly wanting here. Second, they are super virtuosic. Everything - the impossibly sustained flute playing of Karlheinz Zoeller in Prélude à l'après-midi d'un faune, the impossibly opulent 16 cellos in De l'aube à midi sur la mer, the impossibly loud final climax in the "Danse générale" at the end of Daphnis et Chloé, the improbably prominent strings at the close of Boléro - is accomplished.
Herbert von Karajan, Debussy: La Mer: Prelude a L'Apres-midi d'un Faune - Ravel: Daphnis et Chloe, Suite No. 2: Bolero. Used output format : Monkey's Audio Lossless.
Prélude à l'après-midi d'un faune (L. 86), known in English as Prelude to the Afternoon of a Faun, is a symphonic poem for orchestra by Claude Debussy, approximately 10 minutes in duration. It was composed in the year 1894, the same year that the piece was first performed. It was first performed in Paris on 22 December 1894, conducted by Gustave Doret. The flute solo was played by Georges Barrère.