BaL 13.02.2021 - Stravinsky: Pulcinella

[Belgrove]

Serendipitously I have been listening to numerous versions of this favourite work on daily constitutionals over the past few weeks - it certainly adds a spring to the step. It stands up very well to various interpretations. I was introduced to Pulcinella by Rattle’s joyous performance with the CBSO at the Proms in 1993, and have been enchanted by it ever since. Despite all the recent hearings, it is the versions by Abbado, Hickox and Stravinsky’s Columbia recording that remain at the top of my list, not least for their differences. Marriner in the Suite is good, though I rarely find any need to play the skimmed-milk version of the work. Looking forward to hearing this BAL.

[Pulcinella]

Serendipitously I have been listening to numerous versions of this favourite work on daily constitutionals over the past few weeks - it certainly adds a spring to the step. It stands up very well to various interpretations. I was introduced to Pulcinella by Rattle’s joyous performance with the CBSO at the Proms in 1993, and have been enchanted by it ever since. Despite all the recent hearings, it is the versions by Abbado, Hickox and Stravinsky’s Columbia recording that remain at the top of my list, not least for their differences. Marriner in the Suite is good, though I rarely find any need to play the skimmed-milk version of the work. Looking forward to hearing this BAL.

There is a curious (deliberate?) 'wrong' note in the Marriner: two bars after figure 11 in the (revised 1949) score (so bar 15 of the Serenata). The last note for the first violins is an (accidental, as we're in C minor key signature) A natural (as is the last note of the next bar). But in bar 15 they play an A flat, giving a scale E flat - G - A flat - B flat - C - D - E flat. Later in bar 16 we have D - C - B flat - C - A natural - B flat, as written. I wonder if this was Marriner's decision. I've not noticed anyone else's version do that.

[Darloboy]

I'd be pretty sure that the full ballet will be discussed as I can't see much point in doing the suite alone while attempting both is using up valuable time.

I've got Abbado, Chailly, Haitink, Marriner, Rattle and Salonen. The only time I've heard it live was LSO/Abbado with the same line up of soloists and at around the same time as the recording was made.

There's little to quibble about with any of those I have though I do have a soft spot for the Marriner which has a sense of spontaneity and sounds as if all had a good time recording it. That might just swing it for me!

The last time it was covered on BaL in October 2002, Anthony Burton did discuss both - 1st choice for the ballet was LSO/Abbado; 1st choice for the suite was Atlanta/Levi.

Prior to that, I think the only time either the suite or ballet has been covered in the last 40 years was when Arnold Whittall did the suite in February 83 - haven't been able to identify his first choice I'm afraid.

Surprising that such a popular work hasn't been done on BaL more often.

[MickyD]

I am fond of the Hogwood recording too...and if I remember correctly, it comes with some interesting booklet notes.

[Pulcinella]

I am fond of the Hogwood recording too...and if I remember correctly, it comes with some interesting booklet notes.

I streamed both of his recordings, and certainly liked the full version much better than his recording of the suite; it has interesting couplings too, as mentioned by makropulos earlier.
I still think that Abbado will be hard to beat, though.

[mikealdren]

I have Rattle's recording of the suites, seems he did both and they are together on some CDs.

[Pulcinella]

I have Rattle's recording of the suites, seems he did both and they are together on some CDs.

I think you'll find that these are Suite number 1 and Suite number 2 (for small orchestra); nothing to do with Pulcinella, but Stravinsky's own arrangements of his Easy Pieces for Piano Duet.

[mikealdren]

Thanks, it's on an LP so I haven't listened to it for years, I'll give it a go.....

[Pulcinella]

Thanks, it's on an LP so I haven't listened to it for years, I'll give it a go.....

This will be it, no doubt:

https://www.discogs.com/Stravinsky-Northern-Sinfonia-Orchestra-Simon-Rattle-Jennifer-Smith-3-John-Fryatt-Malcolm-King-Pulcin/master/623177

[Nick Armstrong]

For me, it neatly accommodates the two periods of music that appealed to me then, and still do.

Same here, but my discovery of it was a stroke of luck - in the late 70s, I was about to embark on some mobile years living abroad and at University, so started to collect cassettes to accompany me... I think the first pre-recorded cassette I bought was the Abbado/LSO Pulcinella - a punt, but they seemed to me to be the most exciting performers of the day, I knew some other Stravinsky, plus I liked the sleeve artwork of the Abbado Stravinsky series, and this one



appealed to me.

Consequently this recording was one of a small number that underscored my next few years, and I’ve not heard it bettered (not that I’ve really looked).

I’ll listen with interest to this BAL to see what else is out there now.

[MickyD]

I streamed both of his recordings, and certainly liked the full version much better than his recording of the suite; it has interesting couplings too, as mentioned by makropulos earlier.
I still think that Abbado will be hard to beat, though.

A good example of the didactic sort of programme of which Chris Hogwood was so fond.

[BBMmk2]

Nick Armstrong, the Abbado looks very interesting indeed. I don’t have this one.

[Pulcinella]

Nick Armstrong, the Abbado looks very interesting indeed. I don’t have this one.

BBM:

It doesn't look quite like that any more, but still no reason to hesitate.
Firebird is not complete; you get the 1919 suite.
(Other retailers are available and perhaps even other couplings as used copies — I had it as a single DG Galleria CD, coupled with Jeu de cartes.)

https://www.prestomusic.com/classical/products/7924223--stravinsky-ballets

[Richard Barrett]

The Abbado recording was my first experience of this work back in the LP days, but I didn't take to it and I realise now this was because of the voices which I still find too exaggeratedly "operatic", which may well be appropriate to the cubist assemblage of styles Stravinsky was working with, but I found it jarring, which is one reason why I tended to avoid Pulcinella until rediscovering it recently on listening through volume 5 of the ongoing Michael Gielen edition. This contains a previously unreleased 1973 broadcast recording (listed above), a performance with a few rough corners that would have been patched in a studio recording but which for me don't detract from its overall attractiveness. Also the singers don't try to steal the show. I dare say that the aforementioned rough corners will rule this recording out as a "winner", but for me it's led to a positive reappraisal of the music which is worth overlooking a few wrong notes for I think.

[Barbirollians]

Another vote for Abbado from me.