82 filemile • előzmény80
|zesa, ime a Gramophone kritikája a lemezről:|
Pulcinella. The Rite of Spring, \'Le sacre du printemps\'.
Olga Borodina mez John Mark Ainsley ten Ildebrando d\' Arcangelo bass
Berlin Philharmonic Orchestra/Bernard Haitink
Philips CD 446 698-2PH (71 minutes : DDD)
Text and translation included.
Reviewed: Gramophone 4/1999, John Steane
The booklet’s interior artwork – a jagged cubist pattern of white print on a black background and vice-versa – will strike you either as inventive or deeply irritating, but its contrasts are mirrored in the success and failure of the two performances. Despite occasional instances of affectionate pointing, and finely done solos from the tenor and bass, conditions for this Pulcinella – among them, a possible unfamiliarity with the notes – do not lend themselves to buoyancy, fun and quick wittedness, and a wonderfully effervescent score is rendered, for the most part, foursquare and flat.
But how different is this Rite (as far as I am aware, the Berliners’ first Rite since their 1975 recording with Karajan); and if the opening bassoon solo – a very melancholy air, beautifully eased into – hints at a performance more ear-caressing than earth-cracking, what emerges is as comprehensive a realization of the many elements of this score as I have heard. The light-toned recording combines of vividly present and analytical clarity with a mostly audible sense of space; its sophistication only slipping in those moments where the parts don’t relate to the whole. Opinions will differ about whether those ‘moments’ are few or many, but the balance allows a very high yield of the score’s intricacies and radicalism, and provides a clear window on (and thus uplifting appreciation of) the wonderful expressive variety of the playing. So, you notice such things as the distinctive profile of the opening minutes’ woodwind lines emerging as a direct result of the player’s artistry rather than, as with Rattle, at the conductor’s obvious prompting; and that the playing is generally, and to a surely unprecedented degree, free of fudging (apart from the solo violin’s harmonics from 1\'11\'\' on track 8), or, to put it more positively, that, for example, the horns, although playing with brazen attack and abandon, and often at the speed of light, are also playing all of the notes at all the right times.
But what of Haitink’s parameters? As it happens, they are mainly Stravinsky’s, with tempos that keep the work on its feet (the swift Introduction to Part 2 following Stravinsky’s own 1960 recording rather than his score’s metronome marking), an avoidance of inflexions alien to the score, and an appreciation of how much more radical The Rite can sound if not turned into a percussion concerto. It is not for me to say how much Haitink’s presence contributed to the brilliant nature and placing of the attack, and to the highly expressive cantabiles; or if, in a studio recording, considerations of ‘pacing’ – as in preserving tone and stamina for the danger-spots as well as the highest peaks – actually come into the equation. The important thing is that they are all here.
When all is said and done, you have to ask yourself with any performance of The Rite, are you left shaken by it? I was by this one. \'
arra lennék kíváncsi van-e valakinek valamilyen kritikai információja, impressziója arról a Stravinsky - Haitink+BPO - Philips Cd-ről (Le sacre+Pulcinella), amely 95-ben jelent meg, de már a 98-as Bielefelderben és 2000-es Ph katalógusban sem látom nyomát. Csak a korábbi Londoniakkal készült felvételét lehet kapni. A lemez száma: 446 698-2
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