Orquesta Sinfo-Filarmónica de Nueva York
Igor Stravinsky, director
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Transferencia de un disco Columbia ML 4092 editado en 1950 conteniendo el registro efectuado por el compositor en 1940 y contenido en el set M-417. Para la reedición de 1950 Columbia utilizó las matrices más silenciosas posibles, obteniendose una calidad más que aceptable luego del filtrado de ruidos, buena parte de él llevado a cabo "a mano".
MANY thanks dear Pablo for your excellent transfer.
ResponderEliminarStravinsky has been often criticized as a conductor.
I think all recordings under him show a different insight of his music.
What we lose sometimes in precision we gain in interpretation.
This early version of his masterpiece Le Sacre confirms this: excellent orchestra, fast tempi, some surprising orchestral balances.....a real pleasure !
Thanks again.
Stravinsky was not a professional conductor, he was a composer who knows how to conduct an orchestra, it doesn´t help him so much the fact that most of the time he conducts pick-up orchestras, ensembles created for the ocassion or for the premiere of a new work. So, he cannot establish a permanent relationship with the same group of people.
ResponderEliminarBut he was very good on show things that are in the score that nobody notice or doesn´t care. For example, he was obsesive with articulation and the balance between instruments and sections of the orchestra, you can hear in those 78s records even with the limited dynamic range. Another intersting thing that today is ignored it´s that Stravinsky uses brisk fast tempi, not only in the Sacre, also in Dumbarton Oaks Concerto, Concerto for strings, the pieces for string quartet, only in his later years he confessed to Robert Craft that his "pulsation" has became a little bit slower as he goes older.
Thank you Centuri for visit again this blog, you´re always welcome.