Author Topic: Chez Stravinsky  (Read 106731 times)

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Offline opaquer

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Re: Chez Stravinsky
« Reply #1180 on: August 02, 2017, 04:26:54 PM »
Ludwig Carlos Van Stravinsky

Offline opaquer

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Re: Chez Stravinsky
« Reply #1181 on: August 02, 2017, 04:31:18 PM »
AND IGOR SAID LET THERE BE LIGHT, and there was light

Offline snyprrr

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Re: Chez Stravinsky
« Reply #1182 on: August 03, 2017, 08:45:17 PM »
I find the three clarinet pieces great fun.

Give me some context, or show me a performance that you can convince me with. I'm at a loss with most of the humor, or whatever it is that makes it "fun". I have Damiens (is it the same recording on Accord AND DG?), Antony Pays,- well, those two (also Dmitri Ashkenazy, nope; and whomever on MDG, can't remember, but it also has the Picasso piece)... I thought one of the first two hit it real swell, probably Pays?....

AND IGOR SAID LET THERE BE LIGHT, and there was light
Ludwig Carlos Van Stravinsky

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Offline opaquer

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Re: Chez Stravinsky
« Reply #1183 on: August 07, 2017, 01:01:09 AM »
Threni is so fucking good, so fucking good!  :-*


Snyprrr, will you budge, there is food in it for you?  ;)

Offline snyprrr

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Re: Chez Stravinsky The THRENI Perplexsion
« Reply #1184 on: August 07, 2017, 06:37:38 AM »
Threni is so fucking good, so fucking good!  :-*


Snyprrr, will you budge, there is food in it for you?  ;)

I've been trying, but I do have this natural aversion to the sound of classically trained singers... even the Herreweghe (on YT) wore me down after a while. ALL I hear is the sound of a man singing... I just can't hear anything else...

OK, I'll take the IS/CBS with me today-

I know I've already asked "how much better could the Herreweghe be in music of such austerity?", but, I think it was Mahlerian who corrected me- there's less bleating in the Herreweghe. Well, I still hear the sound of a man singing, and it's not Paul Rodgers (Bad Company, lol).

BUT, I TRY AND TRY AND TRY AGAIN. WILL REPORT.


Why not give me some needle-drops into your fav moments?
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Offline k a rl h e nn i ng

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Re: Chez Stravinsky The THRENI Perplexsion
« Reply #1185 on: August 07, 2017, 09:02:27 AM »


I've been trying, but I do have this natural aversion to the sound of classically trained singers... even the Herreweghe (on YT) wore me down after a while. ALL I hear is the sound of a man singing... I just can't hear anything else...

Start spreadin' the news ....

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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. — Françoise Gilot

Offline snyprrr

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Re: Chez Stravinsky The THRENI Perplexsion
« Reply #1186 on: August 08, 2017, 09:25:22 AM »

Start spreadin' the news ....

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still waiting on clarinet confirmation. Listened to Pays yesterday. So, the piece starts with a riff on the 'Volga Boatman'? Since it's a much more complex piece than 'Threni'... :P
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Offline k a rl h e nn i ng

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Re: Chez Stravinsky
« Reply #1187 on: August 08, 2017, 09:28:34 AM »
Give me some context, or show me a performance that you can convince me with.

I played them for my Junior Recital, and they are fun to play.  I have probably played them more than once since.
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. — Françoise Gilot

Offline opaquer

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Re: Chez Stravinsky
« Reply #1188 on: August 10, 2017, 03:51:12 AM »
Just listened to the Rite Of Spring and I may come off as trying to be controversial but, meh. It just feels too "old" for me, it's aggressive at times but for it's reputation of being a really aggressive, scary and world-changing work, it's too melodic. But that probably accounts for it's long lasting popularity?
As you already know, Le Sacre was the work that got me into classical and made me a composer in the first place, so there is a level of irony for me.


I think it remains certain that Petrushka is my favorite early Stravinsky work, it's so much more satisfying in so many ways and it is incredibly post-modern, it's practically Schnittke!  There is also some minimalist elements at times that sometimes catch you off guard  :D

Offline opaquer

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Re: Chez Stravinsky
« Reply #1189 on: August 10, 2017, 03:58:41 AM »
My Stravinsky is the more religious, sacred, ceremonial (sometimes theatrical) Stravinsky. Meaning; middle and late stuff (excuse my really general categorization) is really what does it for me.


Firebird's Infernal Dance, Petrushka, the ending of The Rite, are all great but come on:

Oedipus Rex, Agon, Symphony of Psalms, Soldier's Tale, Renard, Threni, Movements for piano & Orchestra, Ebony Concerto, Mass, Agon, Requiem Canticles?  ;)

Offline TheGSMoeller

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Re: Chez Stravinsky
« Reply #1190 on: September 16, 2017, 08:19:02 AM »
I am 100% all about live performances, there's a magic to seeing a piece in concert that beats any recording even with the best pair of headphones available. That's what I experienced last night with The Firebird (1919 suite) performed by the Nashville Symphony. It's always been my least favorite of Stravinsky's major works, but that changed last night. Seeing, and hearing, the colorful orchestration at work, with it's shared division among the winds, and the many percussion instruments just added to the experience.
The mysteriousness of the strings from the Berceuse that filled the hall like a soft blowing wind, the muscular bass-drum hits, the sharp and edgy muted brass lines, and of course the majestic closing bars. This all added to a new found respect for the work, and truthfully I'm excited to gather my recordings of The Firebird and revisit them. This includes the full versions by MTT and Dutoit/Montreal, and the suites by Bernstein/Israel and Abbado/LSO. I have seen Petrushka, Rite of Spring, and now The Firebird all performed live, and what great show pieces these are for orchestras.

Any Firebird fans here? If so which version(s) do you prefer? Thanks!

Offline k a rl h e nn i ng

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Re: Chez Stravinsky
« Reply #1191 on: September 16, 2017, 08:26:15 AM »
The Abbado/LSO Suite is dynamite.  For the complete ballet, hard for me to choose from among the Craft/Philharmonia, Rattle/CBSO and Boulez/CSO.

And my baptism with the piece was rehearsing/performing it in the Wooster Symphony, so I can vouch for the higher character of experience which is hearing it live.
« Last Edit: September 16, 2017, 11:36:42 AM by k a rl h e nn i ng »
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. — Françoise Gilot

Offline Mirror Image

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Re: Chez Stravinsky
« Reply #1192 on: September 16, 2017, 08:47:00 AM »
I was always rather partial to this Firebird from Gergiev:

"Music must be beautiful, or it wouldn’t be worth the effort” - Bohuslav Martinů

Offline Turner

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Re: Chez Stravinsky
« Reply #1193 on: September 16, 2017, 08:47:52 AM »
As for the Firebird Suite, I normally grab Stokowski´s Decca with the LSO and Maazel/BerlRSO.

Both are of course rather old recordings, but in stereo.

In the suite, I´ve got those, plus Stokowski/BPO, Stravinsky/ColSO, Irving/NYBalletO, Dorati/Minneapolis, Monteux/BostonSO, Goehr/NethRSO, and Ormandy/Philadelphia.
« Last Edit: September 16, 2017, 08:49:52 AM by Turner »

Offline TheGSMoeller

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Re: Chez Stravinsky
« Reply #1194 on: September 16, 2017, 08:52:15 AM »
Great! Thanks for the recs, friends!

Offline North Star

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Re: Chez Stravinsky
« Reply #1195 on: September 16, 2017, 09:32:11 AM »
Boulez/CSO.


This one works for me. The dynamic range on that recording is huge. 8)
"Everything has beauty, but not everyone sees it." - Confucius

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Offline k a rl h e nn i ng

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Re: Chez Stravinsky
« Reply #1196 on: September 16, 2017, 11:37:37 AM »
I keep forgetting to adjust . . . for whatever reason, if I cut and paste while I am editing a post, the app does funky things with the font . . . .
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. — Françoise Gilot

Offline ritter

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Re: Chez Stravinsky
« Reply #1197 on: September 16, 2017, 12:03:59 PM »
The recording I got to know The Firebird with, and which remains my favourite, is Boulez's first with the NYPO:


Perhaps less polished than his CSO remake on DG, but there's something "earthy" to this earler version (within the limits of Boulez's analytical approach, of course) that makes it very special (to me at least).

What should be avoided is Boulez's 60s recording of the suite, which is the 1911 version (and thus does not include the berceuse and the fnale, leaving an unpelasant feeling of coitus interruptus  >:( ):

« Last Edit: September 16, 2017, 12:55:26 PM by ritter »
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Offline snyprrr

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Re: Chez Stravinsky
« Reply #1198 on: September 16, 2017, 04:09:05 PM »
Great! Thanks for the recs, friends!

Boulez New York

Davis Concertgebouw

Dohnanyi Vienna



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Offline Le Moderniste

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Re: Chez Stravinsky
« Reply #1199 on: November 18, 2017, 04:12:05 AM »
The Stravinsky plague is real, all residents are reported to be robbing dairies and law-firms worldwide, here's Tom with the weather.

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