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oliver sudden
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« Reply #60 on: 13:11:30, 08-11-2008 » |
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I'd forgotten Ančerl  Handily, it's attached to a very fine Petrushka. I have to admit that one of the first things I do when looking for a recording of a piece is check if Ančerl recorded it. Hm, is there a Dvořák 8? Rummage rummage... |
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SH
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« Reply #61 on: 13:20:06, 08-11-2008 » |
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I'd forgotten Ančerl Hm, is there a Dvořák 8? Rummage rummage... There is, with the Concertgebouw. It was in EMI's Great Conductors of the C20 series, and is very wonderful. But, to the best of my knowledge, he only did the 6th with the Czech Philharmonic. http://www.ceskafilharmonie.cz/en/content_337.phpI am meant to be sorting out my CDs and books, but I keep finding other things to do. The good points are the rediscoveries, the bad points are the have I lost it wherever is it oh woe is me moments. Like, where is my copy of Ančerl's Rite and Petrushka?  |
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Bryn
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« Reply #62 on: 17:40:18, 08-11-2008 » |
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Can I have recommendations for a kick-arse recording of the Rite please? Ančerl on Supraphon Boulez 1963 on Adès (wild and raspy and with a French bassoon) Boulez 1992 on DG (relatively cool and dead-on-target - sniper approach) I think the enquiry was about Stravinsky's Rite, rather than Stravinsky's Rite as 'corrected' by Boulez.  Boulez always insists on introducing at least one crucial allargando a few bars early. With you all the way on Ancerl though. The two recordings with the Rite directed by Eotvos are both well worth hearing. |
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oliver sudden
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« Reply #63 on: 18:43:18, 08-11-2008 » |
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Stravinsky's Rite as 'corrected' by Boulez. I'm reminded of Stravinsky's own blow-by-blow comparison of three recordings including his own. (The others were Boulez and Mehta, I think.) For The Sage the comments were: "this is too fast / this is too fast / my recording is no better than the other two", I think. (I think there's one tempo relation where Ančerl takes the wrong denominator; from memory he also divides the tricky rhythmic proportions near the beginning of Petrushka into triplets and quavers. Doesn't stop either recording being a cracker though.) |
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« Last Edit: 18:47:07, 08-11-2008 by oliver sudden »
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richard barrett
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« Reply #64 on: 20:13:45, 09-11-2008 » |
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Can I have recommendations for a kick-arse recording of the Rite please?
The ones I return to are Abbado/LSO on DG (excellent all round) Craft/Orch of St Luke's on Music Masters (very fast and brutal; analytical recording technique a bit like an updated version of Stravinsky's own recordings) Both deliver boot to bum, Craft with steel toecaps if that's the way you like it. |
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harmonyharmony
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« Reply #65 on: 20:19:25, 09-11-2008 » |
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I have a horrible feeling that this is going to be an expensive thread...
But thank you everyone for your recommendations.
Keep them coming!
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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perfect wagnerite
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« Reply #66 on: 22:13:09, 09-11-2008 » |
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I'd agree with Richard about the Abbado/LSO recording.
The old Philharmonia/Markevitch recording (stereo from 1960 - I haven't heard the earlier mono) certainly delivered a kick - it used to be available on CfP (I had a copy of the LP version in my student days). But a quick Amazon search suggests it's not easy to get hold of at a remotely sensible price
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At every one of these [classical] concerts in England you will find rows of weary people who are there, not because they really like classical music, but because they think they ought to like it. (Shaw, Don Juan in Hell)
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martle
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« Reply #67 on: 22:13:56, 09-11-2008 » |
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Craft/Orch of St Luke's on Music Masters (very fast and brutal; analytical recording technique a bit like an updated version of Stravinsky's own recordings) Craft with the same orchestra deliver the finest/ most exciting recordings of both Les Noces and Pulcinella that I've heard, too. Why does Craft come in for so much stick as a conductor of S's work? |
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Green. Always green.
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oliver sudden
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« Reply #68 on: 22:37:15, 09-11-2008 » |
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I'd agree with Richard about the Abbado/LSO recording.
The old Philharmonia/Markevitch recording (stereo from 1960 - I haven't heard the earlier mono) certainly delivered a kick - it used to be available on CfP (I had a copy of the LP version in my student days). But a quick Amazon search suggests it's not easy to get hold of at a remotely sensible price
Is that the one that's on Testament now, PW? http://www.amazon.co.uk/Stravinsky-Le-Sacre-Du-Printemps/dp/B000003XJH/ref=sr_1_1?ie=UTF8&s=music&qid=1226270179&sr=8-1Meanwhile, if you ever see this one don't hesitate.  |
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« Last Edit: 22:47:29, 09-11-2008 by oliver sudden »
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perfect wagnerite
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« Reply #69 on: 22:41:54, 09-11-2008 » |
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No, I think that's the earlier mono version. The one I'm thinking of is now included in an EMI Rouge et Noir compilation of Russian ballet scores: http://www.amazon.co.uk/Prokofiev-Stravinsky-Stage-Works/dp/B000024E0J/ref=sr_1_4?ie=UTF8&s=music&qid=1226270400&sr=1-4EDIT: Looking again at the details of the Testament disc, there appear to be two performances of the Rite on it. So perhaps both the mono and stereo versions are there. |
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« Last Edit: 22:45:21, 09-11-2008 by perfect wagnerite »
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At every one of these [classical] concerts in England you will find rows of weary people who are there, not because they really like classical music, but because they think they ought to like it. (Shaw, Don Juan in Hell)
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Bryn
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« Reply #70 on: 22:44:23, 09-11-2008 » |
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Craft/Orch of St Luke's on Music Masters (very fast and brutal; analytical recording technique a bit like an updated version of Stravinsky's own recordings)
I know the Craft LSO and Craft/Philharmonia redordings, but what's this Craft/Orch of St Luke's? How many times has he recorded the work? |
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Il Grande Inquisitor
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« Reply #71 on: 22:49:19, 09-11-2008 » |
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EDIT: Looking again at the details of the Testament disc, there appear to be two performances of the Rite on it. So perhaps both the mono and stereo versions are there.
Yes, both mono and stereo versions, from 1951 and 1959 respectively: http://www.testament.co.uk/shop/product/sbt1076.aspx |
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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perfect wagnerite
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« Reply #72 on: 22:50:12, 09-11-2008 » |
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A quick Google reveals this summary of the BBC's Building a Library choice from June 2004: http://www.bbc.co.uk/radio3/cdreview/pip/4wwtd/in which the stereo Markevitch is the recommended historical version, confirmed as being one of the performances on the Testament set. |
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At every one of these [classical] concerts in England you will find rows of weary people who are there, not because they really like classical music, but because they think they ought to like it. (Shaw, Don Juan in Hell)
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richard barrett
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« Reply #73 on: 23:00:23, 09-11-2008 » |
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I know the Craft LSO and Craft/Philharmonia redordings, but what's this Craft/Orch of St Luke's?  ... an excellent series mostly, which for reasons unknown to me didn't get very far into the Complete Works I was assuming it was intended to be. This first volume is a double CD which besides Le Sacre also contains the Symphony in three movements, Fanfare for a New Theatre, Fanfare for Three Trumpets, Oedipus Rex, the Pas de deux from Apollo, Requiem Canticles and the Symphony of Psalms. Paul Newman in Oedipus was obviously recorded in a different space from the music, which is extremely annoying I think, and the vocalists in this and the pieces with chorus are somewhat indifferent, but the orchestral pieces are very well done indeed IMO. |
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Il Grande Inquisitor
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« Reply #74 on: 23:02:31, 09-11-2008 » |
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I wonder what other members think about Yoel levi's account on Telarc? It's wonderfully recorded and the interpretation is pretty 'straight'. It was the first choice on BaL in 2004, and one of Rob Cowan's highly recommended discs earlier this year. I know some here find Gergiev's account mannered, but it's much more elemental and vicious, whereas the Levi is 'clean'. The sound is not as good and I don’t always like the way Gergiev takes the final dance so slowly, but it has a raw power which I enjoy. |
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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