Originally posted by Nick Armstrong
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BaL 13.02.2021 - Stravinsky: Pulcinella
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Originally posted by Bryn View PostNot the Hogwood recording of the suite but the ballet, with the St Paul Chamber Orchestra: https://www.amazon.co.uk/Stravinsky-.../dp/B06XH4H6RS (tracks 24 to 31)."...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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Originally posted by Bryn View PostNot the Hogwood recording of the suite (Basel) but the ballet, with the St Paul Chamber Orchestra: https://www.amazon.co.uk/Stravinsky-.../dp/B06XH4H6RS (tracks 24 to 31)."...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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Originally posted by visualnickmos View PostAppears to be more chat on here about the sound 'quality' than the subject in question; that said, I was not at all taken withe 'winner' - far too tepid, and lacking character. Lots of "plinkety plink..."
Boulez is the one I'm going to investigate. Have Abbado, and one or two suites.
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Originally posted by cloughie View PostI’ve had a Pulcinella ear worm for best part of a week now - anyone else caught it?
PS: Maybe that's the real answer to vinteuil's original question.
The opening Sinfonia just always seems to be in my head, so it really was the obvious choice for my Forum name.
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Originally posted by cloughie View PostI’ve had a Pulcinella ear worm for best part of a week now - anyone else caught it?
The really obstinate one, in my case, is the Gavotta con due variazione but the whole piece is stuffed full of earworms."The sound is the handwriting of the conductor" - Bernard Haitink
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Originally posted by gurnemanz View PostThanks for the nudge towards Boulez which I have as part of his good value Erato box. I hadn't played it for a while and have just listened again with great pleasure. Vivid presentation with humour and slightly grainy string sound. Interesting to read sleeve notes which refer to Boulez' initial rejection of Stravinsky's post Les Noces neo-classical works which for a couple of decades he refused to conduct, referring to "inconsistency", "sclerosis in all spheres", "spurious academicism". The recording seems to be evidence of his conversion.
In the big sony Boulez box there is (CD 43) his 1975 recording of the suite with the New York Philharmonic.
I'm not sure which Boulez recordings were flagged up in this Building a Library
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Originally posted by vinteuil View Post... the erato box gives Boulez's 1980 performance of the ballet with the Ensemble Intercontemporain.
In the big sony Boulez box there is (CD 43) his 1975 recording of the suite with the New York Philharmonic.
I'm not sure which Boulez recordings were flagged up in this Building a Library
.
No mention (that I heard, anyway) of his NYPO recording of the suite.
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Originally posted by vinteuil View Post... ah, thanks for that. Sorry I didn't see this earlier
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I have the Erato recording in a 2CD ultima set, with very little documentation, and a very odd/limited track listing; I wonder if this was maintained in the reissue.
1. Overture [2'03"]
2. Serenata (tenor) - Scherzino (soloists) [22'25']
3. Tarantella (mezzo-soprano) [5'19']
4. Gavotta con due variationi [11'46']
I wonder when Boulez' 'conversion' happened?
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Originally posted by Pulcinella View Post
I have the Erato recording in a 2CD ultima set, with very little documentation, and a very odd/limited track listing; I wonder if this was maintained in the reissue.
1. Overture [2'03"]
2. Serenata (tenor) - Scherzino (soloists) [22'25']
3. Tarantella (mezzo-soprano) [5'19']
4. Gavotta con due variationi [11'46']
I wonder when Boulez' 'conversion' happened?
1. Overture [2'05"]
2. Serenata - Scherzino [22'26"]
3. Tarentella [5'20"]
4. Gavotta con due variazioni [10'57]
recording IRCAM Paris 12/1980
Ann Murray, mezzo-soprano; Anthony Rolfe-Johnson, tenor; Simon Estes. bass.
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