Author Topic: Chez Stravinsky  (Read 92593 times)

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Offline snyprrr

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Re: Chez Stravinsky
« Reply #1000 on: March 19, 2017, 09:34:31 PM »
1000 Posts!
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Re: Chez Stravinsky
« Reply #1001 on: March 19, 2017, 09:35:12 PM »
waiting for next Post...

Same, it's gonna be slaughterama here  :laugh:      ???       :'( :'(
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Offline snyprrr

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Re: Chez Stravinsky
« Reply #1002 on: March 19, 2017, 09:36:44 PM »
I will also take the 1001st Post, thank you! ;)
Same, it's gonna be slaughterama here  :laugh:      ???       :'( :'(

DOOOH!! :o ??? :o ???

You just sank my battleship!!!!! :'( :'( :'( >:D >:D >:D :laugh: :laugh: :laugh:
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Re: Chez Stravinsky
« Reply #1003 on: March 19, 2017, 09:37:15 PM »
now what were you saying? :laugh:
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Re: Chez Stravinsky
« Reply #1004 on: March 19, 2017, 09:37:40 PM »
Igor Fyodorovich Stravinsky (sometimes spelled Strawinski, Strawinsky, or Stravinskii; Russian: И́горь Фёдорович Страви́нский, tr. Igorʹ Fdorovič Stravinskij; IPA: [ˈiɡərʲ ˈfʲɵdərəvʲɪtɕ strɐˈvʲinskʲɪj]; 17 June [O.S. 5 June] 1882 6 April 1971) was a Russian-born composer, pianist, and conductor. He is widely considered one of the most important and influential composers of the 20th century.

Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913). The last of these transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a musical revolutionary who pushed the boundaries of musical design. His "Russian phase" which continued with works such as Renard, The Soldier's Tale and Les Noces, was followed in the 1920s by a period in which he turned to neoclassical music. The works from this period tended to make use of traditional musical forms (concerto grosso, fugue and symphony), drawing on earlier styles, especially from the 18th century. In the 1950s, Stravinsky adopted serial procedures. His compositions of this period shared traits with examples of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a few two- or three-note cells and clarity of form, and of instrumentation. 
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Re: Chez Stravinsky
« Reply #1005 on: March 19, 2017, 09:39:01 PM »
Sorry, I wanted to do the flashy scrolly stuff too  :(
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Re: Chez Stravinsky
« Reply #1006 on: March 19, 2017, 09:39:33 PM »
now what were you saying? :laugh:

Yeah, IX is the real IS  :D
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Offline snyprrr

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Re: Chez Stravinsky
« Reply #1007 on: March 19, 2017, 09:40:08 PM »
pop open the bubbly baby, pop open the bubbly :P


Igor Fyodorovich Stravinsky (sometimes spelled Strawinski, Strawinsky, or Stravinskii; Russian: И́горь Фёдорович Страви́нский, tr. Igorʹ Fdorovič Stravinskij; IPA: [ˈiɡərʲ ˈfʲɵdərəvʲɪtɕ strɐˈvʲinskʲɪj]; 17 June [O.S. 5 June] 1882 6 April 1971) was a Russian-born composer, pianist, and conductor. He is widely considered one of the most important and influential composers of the 20th century.

Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913). The last of these transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a musical revolutionary who pushed the boundaries of musical design. His "Russian phase" which continued with works such as Renard, The Soldier's Tale and Les Noces, was followed in the 1920s by a period in which he turned to neoclassical music. The works from this period tended to make use of traditional musical forms (concerto grosso, fugue and symphony), drawing on earlier styles, especially from the 18th century. In the 1950s, Stravinsky adopted serial procedures. His compositions of this period shared traits with examples of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a few two- or three-note cells and clarity of form, and of instrumentation. 

LOL!! :laugh:

Sorry, I wanted to do the flashy scrolly stuff too  :(

woo hoo party time excellent!! :laugh:
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Re: Chez Stravinsky
« Reply #1008 on: March 19, 2017, 09:58:53 PM »
I just celebrated by purchasing Haitink's 1991 'Scenes de Ballet' with Berlin. Oh, this is exciting! 'Night Iggsters ;)
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Offline k a rl h e nn i ng

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Re: Chez Stravinsky
« Reply #1009 on: March 20, 2017, 01:40:04 AM »
I'm assuming you mean the Birmingham?... [Rattle, Apollo]

Aye.
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Offline k a rl h e nn i ng

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Re: Chez Stravinsky
« Reply #1010 on: March 20, 2017, 04:38:49 AM »
Cross-post

Courtesy of Mirror Image: Stravinsky in Hollywood

I admit it:  I always find film footage of Игорь Фдорович touching.  I learnt some new things, and quite a few things I already knew, were illustrated more fully.  The superimposition of the second movement of the Symphony in Three Movements with footage from The Song of Bernadette (Stravinsky had been approached to write the score, but it was one of several film score projects to fall through) is very interesting;  it would have come off as fully art-house, I think not Going Hollywood, at all, at all.

If I knew before, I had entirely forgotten, that both Schoenberg and Stravinsky were in the theatre at the same time, for Shilkret's Genesis Suite event (18 Nov 1945, at the Wilshire Ebell Theatre);  they kept apart, but they were both under the same roof.  If I remember the poster aright, Laurence Harvey (The Manchurian Candidate) did the narration.

Of course (and even though the recordings/sound quality were not necessarily the best) I found the selections used for the soundtrack very affecting.  I'll go ahead and opine that this is obligatory viewing for any self-respecting Stravinsky nerd  8)
Karl Henning, Ph.D.
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[Matisse] was interested neither in fending off opposition,
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His only competition was with himself. Franoise Gilot

Offline k a rl h e nn i ng

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Re: Chez Stravinsky
« Reply #1011 on: March 20, 2017, 05:09:55 AM »
Parenthetically (courtesy of Wikipedia):

Quote
A completely new recording of the Genesis Suite was made in December 2000 at Jesus Christus Kirche in Berlin by the Rundfunk-Sinfonieorchester Berlin, conducted by Gerard Schwarz and featuring the Ernst Senff Chor.[2] The narration was by acting stars Tovah Feldshuh, Barbara Feldon, David Margulies, Fritz Weaver, and writer Isaiah Sheffer. The recordings were made from recreated scores.[2] The liner notes state that the only copies of five of the scores were destroyed in a fire in Nathaniel Shilkret's home in the 1960s. There was a fire in his son Arthur Shilkret's store at 55 Church Street, Malverne, New York on 26 October 1973 (documented in the 1 November 1973 Malverne Times, a copy of which is reproduced in the archival edition of the Shilkret autobiography). However, full scores prepared by Shilkret of all seven parts are still in the Shilkret archives as well as Castelnuevo-Tedesco's original signed submitted score, dated 11 March 1944.

The Genesis Suite was performed by the Seattle Symphony Orchestra, conducted by Gerard Schwarz, accompanied by the University of Washington Chorale, with narrative by F. Murray Abraham and Patty Duke on 29 and 31 May 2008.

Barbara Feldon!  Patty Duke!
Karl Henning, Ph.D.
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[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. Franoise Gilot

Offline Mirror Image

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Re: Chez Stravinsky
« Reply #1012 on: March 20, 2017, 05:43:56 AM »
Cross-post

I admit it:  I always find film footage of Игорь Фдорович touching.  I learnt some new things, and quite a few things I already knew, were illustrated more fully.  The superimposition of the second movement of the Symphony in Three Movements with footage from The Song of Bernadette (Stravinsky had been approached to write the score, but it was one of several film score projects to fall through) is very interesting;  it would have come off as fully art-house, I think not Going Hollywood, at all, at all.

If I knew before, I had entirely forgotten, that both Schoenberg and Stravinsky were in the theatre at the same time, for Shilkret's Genesis Suite event (18 Nov 1945, at the Wilshire Ebell Theatre);  they kept apart, but they were both under the same roof.  If I remember the poster aright, Laurence Harvey (The Manchurian Candidate) did the narration.

Of course (and even though the recordings/sound quality were not necessarily the best) I found the selections used for the soundtrack very affecting.  I'll go ahead and opine that this is obligatory viewing for any self-respecting Stravinsky nerd  8)

Glad you enjoyed the film, Karl. 8) Its quite good indeed.
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Offline k a rl h e nn i ng

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Re: Chez Stravinsky
« Reply #1013 on: March 20, 2017, 05:51:45 AM »
Thanks, again!
Karl Henning, Ph.D.
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[Matisse] was interested neither in fending off opposition,
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His only competition was with himself. Franoise Gilot

Offline Mirror Image

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Re: Chez Stravinsky
« Reply #1014 on: March 20, 2017, 06:47:16 AM »
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Offline snyprrr

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Re: Chez Stravinsky SCENES DE BALLET
« Reply #1015 on: March 20, 2017, 08:03:33 AM »
I just celebrated by purchasing Haitink's 1991 'Scenes de Ballet' with Berlin. Oh, this is exciting! 'Night Iggsters ;)

Scenes de Ballet

I had disregarded this, but it's on that MTT/RCA, sooo,... hmm,... they say it's his only foray into "Broadway"... I dunno, still sounds like his ballet music generally... I was hoping this Haitink/Berlin version would be a good foil for MTT.

I do like the piano at the end... is it playing throughout the piece, I can't hear it


For some reason I'm really taking to his "boring" music... something about "elite 40s Hollywood Babylon soundtrack", all sheen and white on the outside hiding unspeakable crimes (LA Confidential type, Black Dahlia)... is he the true 'Twin Peaks' Composer?? hmm.....






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"Fascist"

"Communist"
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Offline Mirror Image

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Re: Chez Stravinsky SCENES DE BALLET
« Reply #1016 on: March 20, 2017, 09:43:49 AM »
Iggy and Arney never came to blows? :laugh: Please regale us with their spatting...

[Ahem] Thats Arnie, not Arney. ;D



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Offline snyprrr

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Re: Chez Stravinsky ROBERT CRAFT'S MADDENING DISCOGRAPHY
« Reply #1017 on: March 21, 2017, 06:30:29 AM »
I'm trying to get a handle on the Craft Cycle... uh boy... simply the most bizarre amalgam of pieces willy-nilly on every disc, whether MusicMasters, Koch, or Naxos. I mean, you can't get any one piece without getting a truckload of stuff you don't perhaps want.

I'm working on a collating Post... but, what a task!! And, frankly, I'm not hearing that great of sound coming from any of these recordings. I mean, they were made in the 90s, right? They all seem to have that MarcoPolo sound, which is "ok, but nothing state-of-the-art", many times with the high end muffled a little.

What do you say are Craft's Top3?



Can we "act" like the "supervised", older recordings are "Stravinsky", and not "Craft"? I don't see the point in even more confusion...




I mean, I keep hearing "correct" performances in mediocre sound. Why does love have to be so sad? :(
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Offline James

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Re: Chez Stravinsky ROBERT CRAFT'S MADDENING DISCOGRAPHY
« Reply #1018 on: March 21, 2017, 08:01:21 AM »
I'm trying to get a handle on the Craft Cycle... uh boy... simply the most bizarre amalgam of pieces willy-nilly on every disc, whether MusicMasters, Koch, or Naxos. I mean, you can't get any one piece without getting a truckload of stuff you don't perhaps want.

I'm working on a collating Post... but, what a task!! And, frankly, I'm not hearing that great of sound coming from any of these recordings. I mean, they were made in the 90s, right? They all seem to have that MarcoPolo sound, which is "ok, but nothing state-of-the-art", many times with the high end muffled a little.

What do you say are Craft's Top3?



Can we "act" like the "supervised", older recordings are "Stravinsky", and not "Craft"? I don't see the point in even more confusion...




I mean, I keep hearing "correct" performances in mediocre sound. Why does love have to be so sad? :(

The Naxos Apollo-Agon-Orpheus is a good one. I often recommend it.
"The crowd is the gathering place of the weakest; true creation is a solitary act." - Bukowski

Offline k a rl h e nn i ng

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Re: Chez Stravinsky
« Reply #1019 on: March 21, 2017, 09:05:59 AM »
I'm trying to get a handle on the Craft Cycle... uh boy... simply the most bizarre amalgam of pieces willy-nilly on every disc, whether MusicMasters, Koch, or Naxos. I mean, you can't get any one piece without getting a truckload of stuff you don't perhaps want.

Well, I just might be a dyed-in-the-wool fanboy, but there is nothing of even the lesser "filler" on any of the Koch or Music Masters issues which I don't want.  Well, perhaps they were items I didn't want when I first ordered the discs, but after I listened through, I found that I wanted them, only I hadn't known it  8)

My challenge has been the Naxos reissues, where the re-shuffling of the programs has prompted the question, do I want the redundancy?  (Similar story with the Schoenberg/Craft reissues on Naxos, of course.)

And I beg to differ, none of these suffer from Marco Polo soundstage/recording mrmmrmrmmrrm.

So, the Craft Top 3?  Tough to winnow it down!  Setting aside Threni (which Naxos hasn't touched, I think) I'm apt to vote for:

Le baiser de la fe (LSO)
Orpheus (LSO)
Le sacre (LSO again, I believe . . . there's an earlier recording with the Orchestra of St Luke's from the Music Masters vol. 1)


I cannot do so before my Friday concert, but now I am curious to do a comparison listen between the two Rites.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. Franoise Gilot

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