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thompson1780
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« Reply #45 on: 16:52:39, 17-08-2007 » |
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Martle, you are too kind. Don't worry, I have plenty of paving stones to talk to.
Anyway, for Ron and co, here's OK's note in tonight's programme....
In 1943 Stravinsky renotated the sacrificial dance and extensively revised the orchestration in the process. This version, intended to facilitate performance, has paradoxically been largely overlooked - orchestras have long since mastered the familiar version, and the absorption of an unfamiliar visual layout and much relearning demands more rehearsal. The 1943 version commands our attention, not only for the extraordinary hard clarity of its sound, but because in the process of revision Stravinsky managed to restore several aspects of the 1913 score which had been less effective given the playing standards of the time. It is also the version Stravinsky employed in his last and most familiar recording of The Rite - a fact which has rarely been noticed!
I'm looking forward to this!
Tommo
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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Ruth Elleson
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« Reply #46 on: 17:02:01, 17-08-2007 » |
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Well, you might see me there after all. One of my prior engagements has just evaporated. The second (after work drinks) needn't last that long. The big question is: can the third (housework and trip to supermarket) really wait? I suspect not  Ah well, there's always the radio, if I don't make it to the Hall. |
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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Ron Dough
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« Reply #47 on: 17:35:02, 17-08-2007 » |
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Thanks for that, Tommo. I was aware that the edition used in the last Stravinsky recording was different for a very strange reason. I first came across Le Sacre when I was about twelve, when the opening of the Danse Sacrale was used for the sig. tune to a Womens' Hour serial (on the Light Programme in those pre-1967 days). They were very inventive in their choice of music, but this was extreme, and way beyond anything I'd heard before. They would announce the music after the first and last episodes of the serial, and even tell you who was playing: it was a composer-conducted performance in this case, so I went out with saved holiday money not spent on ice-creams to buy a copy. In those LP days, there were two recordings conducted by the composer, the CBS new one, and one on the Philips bargain label which was actually a reissue of the 1940 78s, though not advertised as such. There was about a pound's difference in price - eight weeks' pocket money, so not surprisingly, I went for the cheaper one. When I got it home, I knew straight away that the opening of the Danse Sacrale sounded different; I'd heard it top-and-tail ten episodes of the serial, so I'd heard it twenty times; the orchestration was definitely not the same. Nobody else at home could hear the difference: it was just me being awkward again. It was only far later when I heard the second recording again that I knew I'd been right.
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thompson1780
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« Reply #48 on: 23:51:47, 17-08-2007 » |
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Well I hope you all enjoyed that - I certainly did!
Tommo
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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Tony Watson
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« Reply #49 on: 00:14:39, 18-08-2007 » |
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And I wonder which version of Schoenberg's Five Pieces for Orchestra they used. My book says it was revised in 1922 and again in 1952.
Seeing how Stravinsky took into account the playing standards of the time, I'd love to know how well the Schoenberg was played under Henry Wood in 1912. It doesn't look an easy work to play at all.
I enjoyed tonight too. But for the Schoenberg, I've still not heard better than Boulez's conducting. That first piece needs plenty of drive and urgency which I thought was lacking a little tonight.
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Ruth Elleson
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« Reply #50 on: 09:00:34, 18-08-2007 » |
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Must be horses for courses, Tommo - I didn't make it to the Prom in the end, but I got a text message from a friend after the concert saying that in his view it was a strong contender for worst prom of the season so far. I will see if I can find out why he thought so!
How full was it, in the end?
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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autoharp
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« Reply #51 on: 11:03:06, 18-08-2007 » |
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It was pretty full - and, with respect, your friend has it wrong. Enjoyable Schoenberg. Olly's concerto contained some exquisite scoring, a healthy dose of octatonicism and a pretty sensational soloist. The Henze was (for me) utterly unmemorable and the Rite went at quite a lick - an exciting performance despite some dodgy wind intonation (one flat clarinettist from beginning to end). Like Tommo, I had a good time.
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thompson1780
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« Reply #52 on: 19:43:02, 18-08-2007 » |
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And I wonder which version of Schoenberg's Five Pieces for Orchestra they used. My book says it was revised in 1922 and again in 1952.
It was the original scoring of 1909, for large orchestra. Titles were added in 1912, and there were revisions in 1922 (slight) and 1949 (major, for smaller forces). I thought the Schoenberg was really gripping, and wasn't too worried about the first movement tempo. I liked the concerto as a work, but got a bit annoyed with LJ's performance of it. She is a bit of a gurner, so I often found I had to look away (which was a tad inconvenient given I'd gone to see the violinist...). As far as her playing is concerned, it was mainly outstanding - especially the fireworks in the last movement - but I did get annoyed by relatively straightforward passagework having inconsistent vibrato (because of what looked like surmountable technical reasons) and long notes at the end of a vibratoless passage starting without any vibrato and then wobbling! But OK seemed really pleased with LJ, so perhaps this is what he wanted? I too found the Henze forgettable. The Rite was really tight. Intonation was duff in places, but the rhythmic vitality was very impressive. OK is very clear to follow. I was disappointed that the strings just looked like they were going through the motions. I find the Rite is a very physical work, and can't understand how you can play a string instrument in it without moving your whole body. Last night, movement generally stopped at the shoulders - with the notable exception of the super Viola section, Basses, and front desks of the rest. But that's a visual thing disturbing a sound thing - I have no complaints about the energy that came across aurally from the strings. There were some truly astounding sights too. I don't think I have ever seen such large guiros. About as thick as a drainpipe and 6 foot long. Two of them, and when it came to it, went at completely "hammer and tongs" by the two percussionists. Brilliant! So the above seems like a bit of a gripe - but that is about it as far as my criticism goes. On my scale, that's an enjoyable concert.... (Shame you friend heard it differently form me, Ruth, but we're all different.) Tommo |
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time_is_now
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« Reply #53 on: 10:25:57, 20-08-2007 » |
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I enjoyed it very much too - sorry to miss blue_sheep (I turned up about 7.25 so didn't get chance to look in the queue). Bumped into Tommo in the bar queue in the interval but then lost him again in the second half. It was quite full, actually - both in the Arena and the seats.
Largely agree with autoharp about the various pieces. I especially enjoyed the Schoenberg. The Stravinsky was very exciting in several places - esp the final scene of Part One - though some of the slower bits (in particular the E flat minor syncopated dance, don't remember the name of it) seemed a bit lacking in evocative power.
The Henze made me think how funny it is that a style which presumably originated in large part with Henze has become so much of a lingua franca that it now sounds rather generic and boring even when Henze does it.
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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blue_sheep
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« Reply #54 on: 11:26:16, 20-08-2007 » |
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Yes sorry to miss you t_i_n! I thought I saw you across the Arena... I don't think I have ever seen such large guiros. About as thick as a drainpipe and 6 foot long. Two of them, and when it came to it, went at completely "hammer and tongs" by the two percussionists. Brilliant!
Definitely a highlight:) |
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autoharp
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« Reply #55 on: 14:11:55, 20-08-2007 » |
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I don't think I have ever seen such large guiros. About as thick as a drainpipe and 6 foot long. Two of them, and when it came to it, went at completely "hammer and tongs" by the two percussionists. Brilliant!
Definitely a highlight:) Absolutely ! Good to be able to hear those berserk cross-rhythms for once. |
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