Lübeck Philharmonic live vol. 4:

Richard Strauss:
Don Juan, op. 20 (20:07)

Till Eulenspiegels lustige Streiche, op. 28 (16:34)

Igor Stravinsky: Le Sacre du Printemps (The Rite of Spring)
I Adoration of the Earth: Introduction 3:53; The Augurs of Spring: Dances of the Young Girls 3:30; Ritual of Abduction 1:28; Spring Rounds 3:41; Ritual of the Rival Tribes 2:01; Procession of the Sage 0:46; Adoration of the Earth: The Sage 0:22; Dance of the Earth 1:22

II The Sacrifice: Introduction 4:41; Mystic Circles of the Young Girls 3:41; Glorification of the Chosen One 1:43; Evocation of the Ancestors 0:46; Ritual Action of the Ancestors 3:55; Sacrificial Dance: The Chosen One 5:30

Total time 74:09

Philharmonisches Orchester der Hansestadt Lübeck
Roman Brogli-Sacher

SACD hybrid

Successes and failures have been boundled on this SACD by Lübeck Philharmonic conducted by his chief conductor Brogli-Sacher. Richard Strauss, only 25 years old, had great success with his second tone-poem Don Juan, starting right away at the premiere of the work. Afterwards the young composer became a strong and respected member of German musical life. And also the second tone-poem performed at this concert live recorded made it‘s way. Humour is not a trait overly frequent in classical music (which is often denoted as „serious music“). But it is this trait which made Till Eulenspiegel to great success right from the start.

Completely different things went with Igor Stravinsky‘s Le Sacre du Printemps, today one of his most played and most popular works. The legendary world premiere of the ballet in May 1913 in Paris – referred to by a newspaper as »Le massacre du printemps« – really became a scandal with the vocal reaction of the crowd escalating to insults and acts of violence, leaves us wondering to which point the audience’s protest was a reaction to the music. One year later however a concert performance led the piece to success – Stravinsky remembers: »After the scandal at the Théâtre des Champs-Élysées, the concert meant a glorious rehabilitation. The hall was crowded. The audience, no longer being distracted by scenic pictures, listened to my work in focussed concentration and greeted it with an enthusiasm that moved me very much and I that I had not been expecting. Some critics, having disliked The Rite one year before, frankly admitted they had been wrong. I had won over the audience, and understandably this granted me profound and persistent satisfaction.«