Â÷ÀÌÄÚÇÁ½ºÅ° : 1812³â ¼­°î, ÀÌÅ»¸®¾Æ Ä«ÇÁ¸®Ä¡¿À, ½½¶óºê ÇàÁø°î ¿Ü ; Tchaikovsky: 1812 Overture, Capriccio italien & Swan Lake
»óÇ°ºÐ·ù Ŭ·¡½Ä(Classics)
Á¦Á¶»ç Eloquence
Á¦Á¶±¹ Australia
°íÀ¯¹øÈ£ 4805048
ÃÑÆòÁ¡ -  [°¨»ó±â ÀÛ¼º]
ÆǸŰ¡ 11,700¿ø
Àû¸³±Ý 117¿ø
Ä«µå°áÁ¦ [¹«ÀÌÀÚÇҺξȳ»] (À§Å¹/Áß°íÁ¦Ç°Àº Ä«µå°áÁ¦ ¹ÌÀû¿ë)
¹è¼Ûºñ 3,000¿ø (50,000¿ø ÀÌ»ó ±¸¸Å½Ã ¹«·á)
ÁÖ¹®¼ö·®
  • Â÷ÀÌÄÚÇÁ½ºÅ°: 1812³â ¼­°î (µ¥Ä« ÆÛ½ºÆ® ½ºÅ×·¹¿À ·¹ÄÚµù)
  • Â÷ÀÌÄÚÇÁ½ºÅ°: 1812³â ¼­°î, ÀÌÅ»¸®¾Æ Ä«ÇÁ¸®Ä¡¿À, ½½¶óºê ÇàÁø°î, ¹éÁ¶ÀÇ È£¼ö(¸ðÀ½°î)
  • London Symphony Orchestra, London Philharmonic Orchestra, Kenneth Alwyn(cond)
  • µ¥Ä« ÃÖÃÊÀÇ °ø½Ä ½ºÅ×·¹¿À ·¹ÄÚµù.
  • 1950³â´ë ÈÄ¹Ý µ¥Ä«´Â ½ºÅ×·¹¿À¿Í ¸ð³ë ³ìÀ½À» º´ÇàÇÏ´Ù, 1958³â ¸¶Ä§³» º»°Ý ½ºÅ×·¹¿À ³ìÀ½(SXL½Ã¸®Áî)À» ¼±¾ðÇÏ¿´´Ù. ±× ù ¾Ù¹üÀ¸·Î ¼±Á¤ÇÑ ½ºÆåÅÍŬÇÑ »ç¿îµåÀÇ Â÷ÀÌÄÚÇÁ½ºÅ° 1812³â ¼­°î ·¹ÄÚµù.
  • ·Î¾â ¹ß·¹ÀÇ ¼ö¼® ÁöÈÖÀÚ¿´´ø, 33¼¼ÀÇ ÀþÀº ÁöÈÖÀÚ Äɳ׽º ¾ËÀ©ÀÌ ÀÌ ¿ª»çÀû ³ìÀ½ÀÇ ÁöÈÖºÀÀ» Àâ¾Ò´Ù. ´ç½Ã¿¡ ½ÇÁ¦ ´ëÆ÷¼Ò¸®(³ìÀ½)¸¦ »ç¿ëÇÏ¿© È­Á¦¸¦ ºÒ·¯ÀÏÀ¸Ä×´Ù. »ç¿îµå »Ó ¾Æ´Ï¶ó, ¿¬ÁÖÀÇ ¿Ï¼ºµµ ¿ª½Ã ¶Ù¾î³­ ¸í¹ÝÀÌ´Ù.
  • ÆÄ¿öÇ®ÇÑ ¿ÀÄɽºÆ®¶óÀÇ »ç¿îµå¸¦ »ý»ýÇÏ°Ô ÀçÇöÇÏ´Â µ¥Ä« »ç¿îµåÀÇ Áø¼ö¸¦ ´ãÀº ¾Ù¹ü.
  • [ ¼ö ·Ï °î ]

    1-1. 1812 Overture, Op. 49
    1-2. Capriccio italien, Op. 45
    1-3. Marche slave, Op. 31
    1-4. Swan Lake, Op. 20



    Gramophone Magazine
    ¡°As I expected, the Tchaikovsky still comes up to demonstration standard with the final canons and carillon of 1812 as exciting and brash as anything since. The performances under Kenneth Alwyn are very good indeed, particularly 1812 (why has he been so neglected by the companies?) and at the new price the bargain is excellent.¡±

    Gramophone Magazine
    ¡°Kenneth Alwyn has secured exceptionally good playing from the London Symphony Orchestra ; the woodwind, in particular, shape their phrases most beautifully, and with first-class ensemble... The shaping of the music as a whole is very good, too, with a broad introduction to the Capriccio (making the triplets doubly difficult!), and effective dovetailing of the various tempos both in this piece and in the overture. In every respect, in fact, this is a first-class record.¡±