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In Reply to: RE: The Ansermet/London Symphony of Psalms was a terrible recording posted by kitch29 on March 08, 2017 at 09:36:50
What you have there is Stravinsky's attempt at conducting/recording his own work. I have the entire catalogue of this Mono cycle......love the artwork! I find them far superior to his own attempt at his stereo cycle.
With that said, Ansermet was much more effective at bringing out the music far more effectively with both his mono and stereo series, but not for all Stravinsky's works. His stereo Petroushka is my reference ......others not so much. If you want some more alternatives, try out Montuex, Fricsay, Markevitch, Boulez, Dorati, and many others.
It's funny, but many composers suck when it comes down to conducting their own creations. Stravinsky and Copeland come to mind. Bernstein smokes any of Aaron's attempts and it the same Stravinsky. During his recordings of his stereo cycle he was burdened with a terrible hernia and the ace bandages didn't help. Division of labor seems to come into play. Conductors are a better bet than composers attempts. Of coarse there are plenty of exceptions, but Igor is not one of them.
I do prefer his mono cycle. Columbia monos are far more "muscular" than the rather thin stereo sound that came later.
My records are still boxed up, so I'm unable to tell you some of my favorites in this piece. It's funny though.....I was just listening to that very LP from a vinyl rip yesterday. Keep looking for a better alternative.
"Stravinsky and Copeland come to mind. Bernstein smokes any of Aaron's attempts and it the same Stravinsky. Conductors are a better bet than composers attempts. Of coarse there are plenty of exceptions, but Igor is not one of them"
I actively dislike all Bernstein's recordings of Stravinsky, and in particular Les Noces which is just some homogenised and Americanised version of the gritty Russian original. I really can't listen to it at all. With Stravinsky you get the full Russian folk feel. Same with many of Igor's works - you need to hear his Russian roots.
If you want an even more Russian Les Noces, listen to the Pokrovsky version which is a total revelation. It really doesn't get more Russian than this! If you can stand Bernstein or even like what he does to this work, you'd probably hate the Pokrovsky, but I'm totally hooked on it - it's addictive.
I really like the Bernstein recording of Oedipus Rex. That "football glee club" chorus just before the end is great!
Neither of the Stravinsky recordings of this piece is that outstanding.
"...... Bernstein smokes any of Aaron's attempts and it the same Stravinsky...."
I really blew that sentence bro.....very embarrassed. What I MEANT to say is that I prefer Bernstein's recordings of Copeland as opposed to the attempts by the composer himself. I didn't mean that Lenny was a master with Stravinsky. I totally and entirely agree with your opinion of Bernstein's Stravinsky. I rarely listen to any of my pressings that I picked up over the years.
My preference for Stravinsky is Markevitch, Fricay, and Dorati........all of their mono recordings especially. Dorati is on all those drop dead gorgeous Mercury Monos !! The other two did their versions on DGG.
For stereo recordings, I find all sorts of newer digital attempts preferable to vinyl with the exception of Dorati's Stereo Mercury of "Rite" and Ansermet's Petrushka on UK Decca SKL or London Blueback. Boulez does a great Le Noces on 1970s Nonesuch that I find very convincing, but I find a modern SACD preferable.
To be honest, I don't have a strong opinion as to The Firebird.....other than Dorati's Mono.
There.....I think I've explained myself more accurately.
Regards, Tom B.
Unfortunately, the one time I heard them long ago at the Mid-West Audio Fest, I didn't like their sound at all. Back then I had built a Foreplay and 2A3 Paramours but went in the opposite direction driver-wise to Wayne Parham's big bass reflex/horn designs. I built a few of those, then some of my own and finally, my main speakers the past ten years, 4 Pis with JBL 2226s, B&C DE-250 compression drivers, and Wayne's own design catenary horns.
More than 10 years ago I built a UX-45, direct coupled Parafeed design from a circuit Doc and John Tucker scribbled on the back of a napkin at CES. Still frequently in service for my Classic Jazz collection those 2 watt'rs now give way to my recently completed 60 Watt KT-88 push-pull mono blocks based on an extreme update of the Mullard 5-20 circuit published at Diyaudio.com. Those have re-kindled my love of symphonic, large forces music.
What a shame Terry passed on so young. He was a brilliant craftsman and I spent a lot of time at his website ogling his commercial cabinetmaking designs.
puppet strings to the poor guy. They're not the most polished or perfectly recorded performances, but to me they always sound evergreen and uniquely modern compared to the boatloads of recordings that followed.
Seemed both up-close And spacious.
I'll bet it was a Recording Soundstage, ala Movies, rather than Symphony Hall recording, but don't really know.
I thought back then they used that place on 30th, NYC, where so many great Columbia recordings were made.
"If people don't want to come, nothing will stop them" - Sol Hurok
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