A truly great "Firebird". Concerning the Vienna Philharmonic - keep in mind the anecdote: A moderately gifted conductor rehearses, and stops every two or three minutes to correct details. Finally, one of the musicians shouts at him: "Be silent or we play as you conduct." The orchestra can be truly great even in a non genuine repetoire, if the conductor understands, in which direction he must lead the orchestra. I heard even a great "Et exspecto" by Messiaen, conducted by Mehta, and a convincing "Glagolitic" with Neumann. Moreover, they play what the conductor wants, when he knows how to handle them personally. Since one of my teachers in school was a hornist of the orchestra, I know that, of all the conductors, who haven't been really close to their self-esteem (like Böhm or Karajan), they liked Dohnanyi and Mackerras, although both had other ideals of sound, and they gave them, what they wanted. Bernstein, on the other hand, was a great teacher as always: "Show me, how you play this. - That's so great! Could you do me a favour, please, and play it, just for me, starting with upstroke instead of downstroke...?" He always got, what he wanted, even when the musicians haven't been convinced. After a Brahms-symphony, my teacher said: "That we played just for him."
Really appreciate this review because the piece is magical and yet today conductor's tend to just plow through it as quickly and virtuosically as possible. A recent performance at the Hollywood Bowl in LA actually sounded dull-something I didn't think possible. So thank you for the guide to greatness! :)
A radio broadcast of the Firebird Suite that I heard at age 10 converted me for life. I was so stunned and amazed by it that I was unable to speak for hours afterwards. I've not yet heard the recording you've spoken of here Dave, but that's what makes life an adventure, isn't it? There are always new interpretations to consider, new ways of singing the old songs. You get this, that's why you say Keep On Listening!
I had some trouble finding this recording. On Spotify I found a 2019 reissue by Eloquence (Decca) that I believe is the same as the disc Dave's holding up.
On the topic of trumpet parts you'd never hear elsewhere, I'd propose the Szell Moldau to be a part of this series. Not only does it have a general clarity and precision which fits the piece perfectly, but also horn playing that rivals Vienna and Pittsburgh, and, to cap it all off, the trumpets playing the part never heard as well elsewhere. Out of George Szell's many recording that belong on this list, his Moldau is by far one of the finest.
If you're referring to the Vyšehrad theme recalled triumphantly by the trumpets at the end of the Moldau, Karajan does that too in his 1985 recording (not his 1968 recording though). In the score though, it's played by the woodwinds only.
It was wonderful time those 80s and early 90s for Decca Classics in recording Stravinsky - Dohanyi, Dorati, Solti, Dutoit, Chailly in their offer. I cannot imagine it today - so many top class conductors in the offer of one label. Moreover, those recordings sound very well played with the modern utmost (unnecessarily very expensive) digital technology we have at hand today. Do not also forget the archival recordings of Great Igor as a conductor with many orchestras under His baton, issued by Sony in Columbia recording series.
@@DavesClassicalGuide Yes, to some extent maybe. The greatest benefit is that I can hear them now quite well recorded in different concert halls thus personal perception can be a bit distorted before we get accustomed to the venue's acoustics. Each conductor adds something special to this fiery and colourful music what is an additional asset. Additionally we can feel much much better dynamics (even from analogue tapes) compared to old times vinyl replay. P.S. Thanks a lot for your suggestions regarding the best recordings of full pantomime music. 🤗
Sorry. Strongly leaning toward Dorati/LSO on this one. But yes....the Dohnanyi Firebird was one of my earliest digital LP purchases and I was blown away. I had long thought I was alone in truly loving this recording, until I came across your videos. But still.....I think Dorati on Mercury takes the prize here.
That one was the reference recording. Nothing wrong with having more than one great recording of something. In fact, I hope that's the case, given how many there are.
@@DavesClassicalGuide Dave, I totally agree. Again, I was totally gobsmacked when I first heard the Dohnanyi. I thought, “surely this isn’t Vienna!” Never knew I would find another, particularly one in the business and so very knowledgeable as you, who would find the Dohnanyi as fine as I thought. Once again, it was one of my earliest digital LP buys. I still have it. I also have the CD. And I still think it’s amazing.
Dude, you're like 2 for 2. Over the weekend, I conducted my local community band in a program that had an arrangement of the "Berceuse and Finale" sooooo, very much so on time yet again! Just can't find it on Amazon or Spotify and I don't have Apple Music...-_-
Hi again Dave!! Sorry for the OFFtopic, but because this is Your most recent video i am asking here: what do You think about the 333 Bach box? Just a short answer (1 to 10) would be great but even a longer one if You want. Thank You very, very much!
Since you mentioned Petrushka, I have to ask if the tambourine drop that signifies the dead puppet is satisfactory on that recording? I recall fondly your highlighting that on the Petrushka repertoire video.
@@LyleFrancisDelpall I can say is find the Petrushka video because Dave talks all about it there. Suffice to say that it’s not how so much as it’s a case of whether the percussionist does as instructed by the score.
A truly great "Firebird".
Concerning the Vienna Philharmonic - keep in mind the anecdote: A moderately gifted conductor rehearses, and stops every two or three minutes to correct details. Finally, one of the musicians shouts at him: "Be silent or we play as you conduct."
The orchestra can be truly great even in a non genuine repetoire, if the conductor understands, in which direction he must lead the orchestra. I heard even a great "Et exspecto" by Messiaen, conducted by Mehta, and a convincing "Glagolitic" with Neumann.
Moreover, they play what the conductor wants, when he knows how to handle them personally. Since one of my teachers in school was a hornist of the orchestra, I know that, of all the conductors, who haven't been really close to their self-esteem (like Böhm or Karajan), they liked Dohnanyi and Mackerras, although both had other ideals of sound, and they gave them, what they wanted. Bernstein, on the other hand, was a great teacher as always: "Show me, how you play this. - That's so great! Could you do me a favour, please, and play it, just for me, starting with upstroke instead of downstroke...?" He always got, what he wanted, even when the musicians haven't been convinced. After a Brahms-symphony, my teacher said: "That we played just for him."
Really appreciate this review because the piece is magical and yet today conductor's tend to just plow through it as quickly and virtuosically as possible. A recent performance at the Hollywood Bowl in LA actually sounded dull-something I didn't think possible. So thank you for the guide to greatness! :)
Thanks for sharing! 🎉
A great way to start my morning! I'll listen to Stravinsky's firebird while I cook my breakfast! Have a wonderful day!
A radio broadcast of the Firebird Suite that I heard at age 10 converted me for life. I was so stunned and amazed by it that I was unable to speak for hours afterwards. I've not yet heard the recording you've spoken of here Dave, but that's what makes life an adventure, isn't it? There are always new interpretations to consider, new ways of singing the old songs. You get this, that's why you say Keep On Listening!
Super recording indeed! Very happy to have this new version!!
I like your no-nonsense style of reviewing music plus that they're short videos, direct and to the point.
I had some trouble finding this recording. On Spotify I found a 2019 reissue by Eloquence (Decca) that I believe is the same as the disc Dave's holding up.
On the topic of trumpet parts you'd never hear elsewhere, I'd propose the Szell Moldau to be a part of this series. Not only does it have a general clarity and precision which fits the piece perfectly, but also horn playing that rivals Vienna and Pittsburgh, and, to cap it all off, the trumpets playing the part never heard as well elsewhere. Out of George Szell's many recording that belong on this list, his Moldau is by far one of the finest.
Reportedly recorded in one take.
If you're referring to the Vyšehrad theme recalled triumphantly by the trumpets at the end of the Moldau, Karajan does that too in his 1985 recording (not his 1968 recording though). In the score though, it's played by the woodwinds only.
It was wonderful time those 80s and early 90s for Decca Classics in recording Stravinsky - Dohanyi, Dorati, Solti, Dutoit, Chailly in their offer. I cannot imagine it today - so many top class conductors in the offer of one label. Moreover, those recordings sound very well played with the modern utmost (unnecessarily very expensive) digital technology we have at hand today. Do not also forget the archival recordings of Great Igor as a conductor with many orchestras under His baton, issued by Sony in Columbia recording series.
Stravinsky's recordings have been largely surpassed many times by others.
@@DavesClassicalGuide Yes, to some extent maybe. The greatest benefit is that I can hear them now quite well recorded in different concert halls thus personal perception can be a bit distorted before we get accustomed to the venue's acoustics. Each conductor adds something special to this fiery and colourful music what is an additional asset. Additionally we can feel much much better dynamics (even from analogue tapes) compared to old times vinyl replay. P.S. Thanks a lot for your suggestions regarding the best recordings of full pantomime music. 🤗
I’m getting excited thinking about it. I’ve never heard this recording before, but that will rectified shortly.
Haven't heard it, but I will give it a listen!
I've looked for a cd of this performance but can't find it so I guess I'll continue listening to Stokowski which I love, but it's not the full ballet.
Sorry. Strongly leaning toward Dorati/LSO on this one. But yes....the Dohnanyi Firebird was one of my earliest digital LP purchases and I was blown away. I had long thought I was alone in truly loving this recording, until I came across your videos.
But still.....I think Dorati on Mercury takes the prize here.
@@MDK2_Radio Of course!!! His recording on Mercury is one of greatest recordings of anything by anyone EVAHHHHH! I’m shocked that you don’t know it.
That one was the reference recording. Nothing wrong with having more than one great recording of something. In fact, I hope that's the case, given how many there are.
@@DavesClassicalGuide Dave, I totally agree. Again, I was totally gobsmacked when I first heard the Dohnanyi. I thought, “surely this isn’t Vienna!” Never knew I would find another, particularly one in the business and so very knowledgeable as you, who would find the Dohnanyi as fine as I thought.
Once again, it was one of my earliest digital LP buys. I still have it. I also have the CD. And I still think it’s amazing.
@@LyleFrancisDelpI mostly listen to Firebird in suite form, not full ballet. That’s why.
Dude, you're like 2 for 2. Over the weekend, I conducted my local community band in a program that had an arrangement of the "Berceuse and Finale" sooooo, very much so on time yet again! Just can't find it on Amazon or Spotify and I don't have Apple Music...-_-
Have you listened to either of the Boulez recordings?
He sure has
@@murraylow4523What is your opinion of them?
Yeeeess!!!
Hi again Dave!! Sorry for the OFFtopic, but because this is Your most recent video i am asking here: what do You think about the 333 Bach box? Just a short answer (1 to 10) would be great but even a longer one if You want. Thank You very, very much!
It's very big but a handy "library" edition.
Thank You!
Sounds great, thanks. How does Dorati/LSO stack up?
Have a look at the Firebird "Repertoire" video in the Stravinsky playlist.
Since you mentioned Petrushka, I have to ask if the tambourine drop that signifies the dead puppet is satisfactory on that recording? I recall fondly your highlighting that on the Petrushka repertoire video.
It was fine by me.
@@MDK2_Radio How many ways are there to drop a tambourine? I mean…is there a specific technique taught in conservatory percussion methods classes?
@@LyleFrancisDelpall I can say is find the Petrushka video because Dave talks all about it there. Suffice to say that it’s not how so much as it’s a case of whether the percussionist does as instructed by the score.