Author Topic: Stravinsky Exaudi Death Match  (Read 167 times)

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Offline snyprrr

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Stravinsky Exaudi Death Match
« on: April 06, 2017, 06:42:51 PM »
Quickly...




I. INITIALE


Stravinsky/CBS: it just isn't going anywhere, mainly because so many others have failed to simply improve on whatever
                          here might be lacking. But, oh do they try and fail...

O'Donnell/Hyperion: I couldn't find this on YT to compare. I know it's a favorite. I do seem to recall the main criticism is the
                                 "recorded in the cavern next door" sound. I have it on order, lol.

Herreweghe: I like it. It seemed to float to the top. He puts the pianos out front: duh. He doesn't do EVERYTHING my way,
                     I don't know how long this affair will last.

Craft: nicely aggressive, with the biggest "booms" out there. But, again, distant micing rules my criticism.

Foss: tantalizingly well put together, but with that bald sound I associate with Stravinsky and some Craft recordings.
          Otherwise, this is almost the echt study version, everything is "wrought".

Shaw: is it really this weak? I thought this was supposed to be so spectacular.


II. THE OLDIES


Ancerl: sound was better than I thought, trying to beat the IgorCBS, but maybe not firing on enough individual points

Markevitch: I don't know how to take this, it sounds like a hallucination almost. I almost love it, but it's bizarre

Ansermet: he takes the octotonic scales perfectly. But, the sound is so soupy I didn't make it far.

Bernstein/London: plodding

Karajan: turned it off half way.

Preston/Decca: it's slow, and a bit distant, but he gets a choral sound bigger than almost anyone. This one might still be
                         worthy enough to last a few rounds, but it does have interpretive negations.


III. DIGITAL GIANTS


Maazel/RCA: this one seems to have the most things going for it, imo, but doesn't have it all. Normal.

Barenboim/Erato: I was surprised! He does a lot of touches, like letting the brass linger through the 2nd to last climax. Normal.

Solti: I'm waffling here. I pretty much pick Maazel and MTT over Solti.

MTT: he gets so many things right. The sound is just a tad Abbey Road soupy, but I have a hard time arguing against a lot
         of this one. Slightly slower.

Gardiner: everything seems right here, but there seems to me a divine spark missing. Otherwise, it's hard for me to argue
                with his absolutely straightforward approach (I suppose trying to minimize vanities?). Normal.

Boulez: comparing to Gardiner and Rattle and MTT and Solti and Maazel doesn't do Boulez a whole lot of favors. The sound
             starts of puny, muffled, and a bit distant, but he recovers. But, there's a lot of energy in the service of man, not God,
             imo. I just want this one to go away. Slowish.

Rattle: yea, he's being fussy with the octotonic scales. He gets a lot right, it even gets a little over the top if you ask me, like
                   'The Omen', but, I can listen to it. I still somewhat wish it would go away. Slow.

Geilen: haven't heard it but it doesn't get good marks.

Chailly: distant micing monster again, but, he recovers and does most everything right. Had it been recorded just a little
             closer, this might have been one of the big contenders. The sound is the biggest distraction. Normal.

Javi: just too distan;  boomy, yet big climaxes


IV. NOT REPRESENTED


Abravanel
Ormandy
Sschmidt-Isserstedt
2nd Bernstein (not London)
Svetlanov


DONE! ;) Whaddaya think?
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