![]() The vital percussion is rendered with distinct crispness in the mix. Speakers Corner has done an outstanding job on this 180-gram re-master. The swaying melodic structures feel like a precursor to some of the choreographed segments in “West Side Story”. Stravinsky and the Columbia Chamber Ensemble distill the jazzy nuances and riveting moments of syncopation in a mere 4:36. A second number, “Ragtime For Eleven Instruments” features a classical re-imagination of ragtime jazz with flute, clarinet, horns, cimbalom, trombone violas and a double bass. The libretto has been translated into English at the request of the composer. There are several humorous moments, including the ending. Stravinsky’s piety and moral compass is on display as Renard meets his inevitable demise. The voices and instruments bring the almost cartoon-like creatures (preening rooster, sly, malevolent fox) to life. Of course there are march-time tempos (another nod to military-precision) that capture the dramatic evolution of the mortal struggles of animals. After the 13:00 mark, the cimbalom (similar to a hammer dulcimer) is introduced which adds a folkish resonance. Compelling sudden time-signature changes and arpeggios explode, followed by lyrical interludes translated by different woodwinds. Horns and percussion usher in this lively performance. First up is “Renard (The Fox)”, Stravinsky’s allegorical tale of barnyard treachery and mayhem. Side 2 offers two compositions which diverge musically. While it wasn’t universally praised at its debut, it has become a shining example of the Stravinsky musical genius. What makes “Les Noces/The Wedding” compelling is the relentless commitment to intensity and a smaller orchestral imprint. Stravinsky has indicated that the vocal parts are non-specific. Additionally, the bride (soprano) and tenor (bridegroom) share a beautiful counterpoint. Some of the music takes on a stark, uneasy resonance (with occasional dissonance), but there is a whimsical balance in some of the chorus refrains. Complex ideas and emotions are channeled through the nervous bride (exchanging with her bridesmaids and mother) and the bridegroom’s dialogue with his father. The listener can appreciate the influence Stravinsky would have on contemporary modern composers. The piano/percussion-centric arrangement is filled with military-like precision and staccato accents. All of the elements of Stravinsky are present…religious dedication, family, tradition and dramatic angst. the master himself conducts the recording session. He utilizes soprano (Mildred Allen), mezzo-soprano (Regina Saarfaty), tenor (George Shirley) and baritone (Donald Graham). Characters are voiced abstractly as Stravinsky described in the liner notes. The arrangement reflects the composer’s vision for original score. The un-pitched percussion is performed by the Columbia Percussion Ensemble. The stripped down arrangements features an exceptional ensemble of four pianist, each one a defining figure in 20th century music in their own right: Aaron Copland RogerSessions, Lukas Foss and Samuel Barber-the pitched percussion. This is a ballet and orchestral concert piece. Side 1 opens with a performance of “Les Noces (The Wedding)”. It consists of three very different performances, ‘Les Noces/The Wedding”, “Renard/The Fox” and “Ragtime For Eleven Instruments”. Speakers Corner Records has released a 180-gram vinyl of a 1962 Columbia Masterworks album, Stravinsky Conducts Stravinsky. While Stravinsky would garner renown for a variety of classical writing, he rose to prominence for three ballet scores, The Firebird, Petrushka and The Rite Of Spring. His embrace of religious orthodoxy and creative freedom was a unique and potent combination. Starting as a student of Rimsky-Korsakov, he redefined rhythmic structures and musical arrangement. It is widely believed that the most influential and diverse composer of this exciting and at times unpredictable time period was Igor Stravinsky. Without a predominant sub-genre, composers engaged in romantic, neo-classicism, modernism, jazz-influenced, impressionism, minimalism and free dissonance. “The 20th Century era of classical music was notable for its divergent styles. Recording: September 1962 at American Legion Hall, Hollywood, and January 1962 at Manhatten Center, New York, by Edwin Michalski Igor Stravinsky - Ragtime for Eleven Instruments The Columbia Chamber Ensemble conducted by Igor Stravinsky George Shirley (tenor), Loren Driacon (tenor), William Murphy (baritone), Donald Gramm (bass) The Columbia Percussion Ensemble and Tha American Concert Choir ![]() Mildred Allen (soprano), Regina Sarfaty (mezzo-soprano), Loren Driscoll (tenor), Robert Oliver (bass) Pianists : Samuel Barber, Aaron Copland, Lukas Foss, Roger Sessions Igor Stravinsky - Les Noces (The Wedding)
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