BaL 6.07.19 - Stravinsky: The Rite of Spring

[jayne lee wilson]

For what it's worth, j, I was at that Prom, admittedly in the arena, close to the rail, and was mightily impressed with the performance. Having been trained by that master of orchestration, Rimsky Korsskov, young Igor knew what alto flutes around at that time were capable of. I found no major problems with the orchestral balance, either on the night or later, via the iPlayer's 'HD Sound' offering.

Absolutely - I recall enjoying the Prom here (can't find any notes sadly...but I seem to get on much better with Roth live webcast, than on his recent discs) but I was concerned about the usual extreme unevenness of sound from different RAH perspectives, which often leads to wildly differing experiences and judgements - especially with instruments d'époque.

Close to the rail - just where you'd want to be, must have been pretty good!

[Bryn]

Absolutely - I recall enjoying the Prom here (can't find any notes sadly...but I seem to get on much better with Roth live webcast, than on his recent discs) but I was concerned about the usual extreme unevenness of sound from different RAH perspectives, which often leads to wildly differing experiences and judgements - especially with instruments d'époque.

Close to the rail - just where you'd want to be, must have been pretty good!

The audio on the YouTube upload of the television version is considerably below the standard of the Radio 3 HD Sound version. The video direction does not help, either. A fairly early close-up of the alto flute player, for instance, does not coincide with a solo on that instrument. It is blended with the double-reeds, lending 'colour' to the mix. I'm listening to that 320kbps discrete stereo aac Radio 3 version as I type.

I only have the B&H '1967' score i.e. the 1947 revision. Does anyone here know the Dover full score (as against their study score)? The description asserts that it is a reproduction of a 1965 Soviet publication. Given the composer's principal rationale for revising the score in the '40s was to assert his international copyright, (not honoured by the USSR), I wondered whether that Dover full score is basically the version used by Roth and co., i.e. using the composer's original orchestration, dynamics and tempo markings?

[verismissimo]

… HIPP fails again!

I had the sense that when Mal started his BAL reports that they were a useful precis of the broadcast - useful for those of us who had failed to listen.

Now we know that they are thinly-disguised vehicles for parading his musical prejudices.

[Bryn]

Now listening to the commercial 'live' Les Siècles/Roth recording. A significant improvement in recording quality over that of the Prom engineering. A gripping performance, too.

[Barbirollians]

I had the sense that when Mal started his BAL reports that they were a useful precis of the broadcast - useful for those of us who had failed to listen.

Now we know that they are thinly-disguised vehicles for parading his musical prejudices.

Rather harsh. keep going Mal - they are amusing and nobody needs to agree with Mal’s choices and quite a lot of ultra HIppite opinions are musical prejudices too.

[Goon525]

Rather harsh. keep going Mal - they are amusing and nobody needs to agree with Mal’s choices and quite a lot of ultra HIppite opinions are musical prejudices too.

But I’m not sure that there are a lot of 'ultra-Hippites' here. Most contributors are fairly broad-minded and can see merit in various approaches. Mal (whose précis are indeed useful and welcome) does seem a bit of an exception in that regard.

(I’m not quite sure what the plural of 'précis' is. Doubtless someone will put me right!)

[HighlandDougie]

Despite my taking Mal to task for his interpretation of what the reviewer actually said about F-X R/Les Siécles, I greatly enjoy his weekly race reports. Indeed, I’ve mostly stopped listening and rely on them as a substitute for getting annoyed with AMcG/whoever talking over each other (DON + AMcG being my idea of how to spoil a Saturday morning). I only tuned in yesterday because I respect Jonathan Cross as a musicologist who knows his stuff. What JC said about the transmogrification of the Rite from ballet score to concert work was particularly relevant to understanding how the rough edges of the original (the bassoon to which Mal has every right to object) were smoothed out over time by IS. The Roth/Les Siècles was a revelation for me in that it brought to life at least an approximation of the original (and is well worth hearing for that fact alone) but would have been a perverse BaL choice, given how the work evolved. Anyway, Mal, do, please, keep the reports coming - they are a source of much pleasurable reading for this lazy listener.

[verismissimo]

...

(I’m not quite sure what the plural of 'précis' is. Doubtless someone will put me right!)

Precis.

[cloughie]

But I’m not sure that there are a lot of 'ultra-Hippites' here. Most contributors are fairly broad-minded and can see merit in various approaches. Mal (whose précis are indeed useful and welcome) does seem a bit of an exception in that regard.

(I’m not quite sure what the plural of 'précis' is. Doubtless someone will put me right!)

‘Hippites’ sound like a warring race, heralded to the battlefield no doubt with the muted strains of ancient valveless instruments.

[verismissimo]

Rather harsh. keep going Mal - they are amusing and nobody needs to agree with Mal’s choices and quite a lot of ultra HIppite opinions are musical prejudices too.

We all have musical prejudices of one sort or another, Barbs. That wasn't really the point I was making.

[gurnemanz]

‘Hippites’ sound like a warring race, heralded to the battlefield no doubt with the muted strains of ancient valveless instruments.

... with long hair, purple flairs and floral shirts.

[visualnickmos]

Precis.

.....or to be more precise; précis

[visualnickmos]

Rather harsh. keep going Mal - they are amusing and nobody needs to agree with Mal’s choices and quite a lot of ultra HIppite opinions are musical prejudices too.

Yes - I am accustomed to reading your splendid reviews - you are very honest, and expressing your opinions directly, is one aspect that makes them so worthy, not to say highly amusing; good work.

[Mal]

Despite my taking Mal to task for his interpretation of what the reviewer actually said about F-X R/Les Siécles...

"HIPP fails again!" was not my interpretation of what the reviewer actually said about F-X R/Les Siécles, it was my raw reaction to the opening bassoon solo. I put what the reviewer actually says, or my best attempt at a summary, in double quotes, and AMcG's responses in single quotes. On the solo, which I love in the performances I have, I was looking for something that would combine the beauty and power of Karajan's bassoon player with the edginess and dynamism of Stravinsky's. My expectations were high, and what came out of my headphones sounded tepid to me, so I was disappointed.

[Pulcinella]

"HIPP fails again!" was not my interpretation of what the reviewer actually said about F-X R/Les Siécles, it was my raw reaction to the opening bassoon solo. I put what the reviewer actually says, or my best attempt at a summary, in double quotes, and AMcG's responses in single quotes. On the solo, which I love in the performances I have, I was looking for something that would combine the beauty and power of Karajan's bassoon player with the edginess and dynamism of Stravinsky's. My expectations were high, and what came out of my headphones sounded tepid to me, so I was disappointed.

That's how I read your comment, Mal.

What was interesting to be reminded of though was how difficult that opening was to play on instruments of the time: nerve-wracking in the extreme for the poor soloist, whereas these days it seems to be just taken for granted (despite always making me that nice little bit apprehensive when I hear a live performance!).