Repertoire: The BEST Stravinsky Petrushka
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- เผยแพร่เมื่อ 26 ก.ย. 2024
- There is a suite from Petrushka, and a fine one it is, but today you will only hear the complete ballet, which is a pity because the suite ends with a bang while the complete work peters out in a whimper. Still, there are very many fine performances of this popular, colorful score, and I discuss more than a dozen of them from which you can choose. And while we're at it, I'll give you some tips on the best way to kill your puppet.
If an old-timer can be forgiven for indulging in a moment of nostalgia:
One of my best musical memories is of hearing Monteux conduct Petrushka with the Boston Symphony at Tanglewood in 1961. I still remember the rest of the program, was all Russian: Rachmaninoff's 2nd Piano Concerto with Gary Graffman and the Tchaikovsky Pathetique. I was in seventh heaven, because I was already enamored of Russian music, and I couldn't have imagined a better program. I remember his short portly figure, genial demeanor and his white dinner jacket, which was the regulation summer attire for the BSO in those days, and may still be for all I know. The RCA LP of the Monteux Tchaikovsky 5th had a wonderful photo on the cover which shows him as I remember him from that time, with kinky. still-black hair and bushy gray mustache, looking much as I might imagine Hercule Poirot.
Thanks for mentioning Detroit - an under appreciated orchestra in my view. Dorati had a few good Stravinsky recordings with them.
Great video as always. I really like your emphasis on orchestras in many of your videos. One thing that is almost lost nowadays is the specific sound and qualities of orchestras. Back in the 50, 60, 70's you were able to recognize the czech philharmonic, concertgebouw, berlin, staatskapelle dresden,vienna, philadelphia, boston, new york, cleveland and many more pretty reliable.
You could do a video about orchestra culture and what has changed for better and for worse. Would be interesting.
Anyway, thanks for your effort and time in making these videos.
The sound on the Ozawa is incredibly vivid, you can hear every single detail and texture. The Rite of Spring on the same CD with the CSO is an absolute belter as well. Probably my favourite Stravinsky album in terms of recorded orchestral sound.
I believe Michael Tilson Thomas plays the piano in that recording!
@@brtherjohn Yes he does :-)
@@brtherjohn You are right. I have this CD and it is indicated on reverse of cover.
Ansermet even with suiss romande , as authoritative as monteux.
Chailly is a great Stravinsky interpreter, his rake’s progress is wonderful. Happy holidays to you David and thank you for your wonderful channel
Skrowaczewski/Minnesota on Vox deserves some accolades! Simply outstanding in every respect and very well recorded. A great orchestra and conductor - period. His Firebird suite and Rite of Spring is also top notch. Also on Vox...
I love the ending of the ballet. Sad, creepy: perfection.
I've been waiting for years for Salonen to do a complete remake of his Philharmonia Stravinsky cycle. At this point, I think people have to consider him as seminal for Stravinsky as Lenny with Mahler, and his Stravinsky at this point is so completely different.
Glad you mentioned the Davis! Listen to that part you mentioned in the "Shrovetide Fair" opening where the there's all those tricky time signature changes in a row - the Concertgebouw nails them with such gusto, makes me smile every time. I'm shocked how many performances clunk up that part. It needs to be fast, loud and executed with pinpoint precision. The recording is also well worth having for "Orpheus" - one of Stravinsky's most underrated masterpieces. It's also probably my fave recording of the"Rite" (goofy ending and all!).
Just heard your top recommendation, Ozawa: fabulous sound!
The Monteux/BSO recording is my go-to for this work. The performance is great and the sound is gorgeous; the bass drum has tremendous impact. I have the Ozawa disc as well and gets played just as often. Great stuff.
Great video
Thank you 🙏🏾
Hello Dave! I love your channel. It's wonderful to have a place on TH-cam where an intelligent musician and audiophile discusses a plethora of recordings covering the whole spectrum of classical music with wonderful insights and a vibrant sense of humor. What a fun and informative channel you have. You and I have different ears, just like no two people have the same palate. But it's good to have different reactions to performances. For example, I'm a bigger fan of Dutoit than you are. Please keep doing what you're doing!
Thank you.
Dorati/Decca was my go to recording in college 👍
We had tons of Everest recordings at home, so I grew up with Eugene Goosens leading the LSO in Petrouchka. It blew my mind when I moved on to Ozawa's hair-raising Stravinsky with Boston and Chicago from the 60's. I still miss those Everest recordings though; they are hard to find today.
I'm disappointed that you don't tell us which of your favourite recordings employ historically informed tambourines and/or historically informed floors. This is obviously a crucial detail. I await clarification before I choose which recording to buy.
Thank you very, very much for this video!!! I waited months! I nabbed up a used copy of that Ozawa Petrushka upon the first listen, the best I've ever heard and I had to have it. Thanks so much for the recommendation.
Glad it was helpful!
The best tambourine drop is on Dohnanyi and VPO. My favourite.
The ending isn't a let down. It fits the story. The message at the end is "What just happened?".
No, it may be theatrically effective (and it is) because of the visual element, but musically it is very unsatisfying. The only reason you can ask your question is because you know the story and so you can formulate an explanation for the outcome, but taken purely as music it is dysfunctional.
@@DavesClassicalGuide I might be misremembering, but I think Stravinsky said somewhere that he thought the ending was by far the best music in the ballet. I can't find the quote, though. If he said it, perhaps you might take that assertion as evidence that he really knew the opposite! And perhaps it was also a symptom of the attitude that led him in his later music to react against the extraversion and warmth of the earlier work and retreat into a certain dryness, whatever its other virtues.
@@JacobSmullyan Very interesting and quite possible.
@@DavesClassicalGuide He says so in one of his conversations with Robert Craft, as a response to a criticism by Prokofiev, who had suggested that he should have ended the work earlier
I completely agree! Same with the ending to Also Sprach Zarathustra. I believe Richard Strauss ended the piece that way to represent a feeling of emptiness he felt from Nietzsche's philosophy.
A fun guide, as always. 🙏 I would add that Petrouchka was conceived as an actual stage work, not a conceptual one. The ending onstage is chilling and utterly remarkable. As the crowd drifts away-nothing to see here-anc the lights of the fair gutter out, Petrouchka appears as a specter above the scene, as the terrified puppet master hurries away. The rest is emptiness. It’s a fabulous ending, quite sobering g after all the color and virtuosity. IMHO.
Good point.
I played percussion in salsaorchestras, so I'm not that familiar with tambourins. Watching your explanations was great fun and good to learn. Thank you (once more)!
I would surely add Dohnanyi's VPO recording to the list of the greatest Petruschka recordings. It might even be my top choice, a great dou with the Firebird and some great Bartok with the VPO.
Added!
Agree fully. Dohnanyi is excellent, as he is in many recordings.
Petrushka has for a long time been my favourite of Stravinsky's early ballets, probably because of all those great tunes like the Russian dance. My go-to-recording is the Vienna Philharmonic conducted by Christoph von Dohnányi. I think the playing of the orchestra is just gorgeous and it has a rustic edge without going too far. I'm sure to try out a few of you recommendations, starting with Ancerl and the Czech Phil...
Definitely--I've just given those recordings a lot of play lately, so I thought it was time for another batch.
😁 David entertaining and fun. I am going to visit your channel more often. I am 75 years old retired professional timpanist/percussionist
Have fun!
Andrew Litton and the Bergen Philharmonic is my favourite version. Splendid conducting and playing. And of course gorgeous sound thanks to the BIS ingeneers.
Summer 1980 at the Chautauqua Festival - Petroushka taught me how to count.
It will do that.
1:20
Two things:
1. The ending of Petrushka is absolutely perfect, and...
2. Ironically, Stravinsky relates that Strauss told him that he did not like Petrushka's ending, and that he should end the piece with a bang to wake up the old ladies.
That's what Strauss' father told HIM, and he ignored that advice as well. But it's still a crappy ending away from the theater.
@@DavesClassicalGuide , my memory grows more treacherous every year. But still...
I can't for the life of me recall which version I first had on LP but I suspect it was the Levine. My favourite these days is Chailly - it's the sort of repertoire he revels in.
Grew up with Monteux/Boston version during the LP days (despite the bad RCA pressing - had Reiner's Scheherazade which was similarly afflicted) and loved it. Have to say I would also give a shout out for Haitink's LPO 70's recording on Philips - he surprisingly got idiomatic and spirited playing from them (not always a given!).
Appreciating your recommendations very much David. I have Boulez Cleveland, Bernstein NY, Abbado LSO and Monteux Boston on vinyl, which I enjoy spinning a lot.
Just been listening (digitally) to a version from someone I seldom hear or read about these days - Eugene Goossens. His Everest version with LSO from ‘59 I think, is lively! Brash punchy brass, prominent woodwinds, great textures. It has lots of personality, I really like the performance actually. I wonder what you think of it, and why so little is mentioned of Goossen’s recording legacy these days?
I grew up with 2 LPs of Petrushka. One was an RCA Camden with Stokowski/Philadelphia - I still have that record, and I treasure it. The other one I had (I lost it) was the composer conducting the 1947 version with the suite - it was on Columbia from the 1960s, I think. I don't like the suite on that recording mainly because it omits the entire 3rd tableau, which is simply too good to leave out. Then there is the loud ending of the 4th tableau, which I admit is effective in concert.
I'll give some of your recommendations a try.
I use to have Eduardo Mata's recording. I'm telling ya! It had the best sound ever! I really loved it. It would have been fun to see a ballet version with sets by David Hockney and dance by Twyla Tharpe.
Bernstein is my favorite Petrushkian, in part because the NY Phil and Israel Phil performances have equal merit and testify to the man’s mastery of the work. I haven’t heard the Ozawa with Boston, so I’ll need to fix that pronto. I also haven’t heard the suite - ever, I think. Although the finale of the full ballet is fitting for that most heinous act of puppet-ocide, I’m open to other ideas, especially when presented by the great Eugene Ormandy.
I looked up "CDs & Vinyl: Ozawa Petrushka" on Amazon. It came back "No results for Ozawa Petrushka in CDs & Vinyl". Then I tried "Ozawa Petrouchka" and it magically appeared.
I wish SONY would give us a box of Ozawa / Boston Symphony - it would also include Carmina Burana and Requiems by Berlioz and Faure + Rachmaninoff's Third Concerto with Kissin (the pianist, not the cousin).
I really enjoy your TH-cam videos - you are in my top three along with Larry Lawton and Caitlin Doughty
LOL a long time ago I dropped a tambourine during a rehearsal of Walton's 'Facade". The narrator, Dennis Quilley, gave me a look to kill. I lived to tell the tale...
I really enjoyed a Mackerras recording that I believe was on the Vanguard label back in the day (late 70s as I recall). It had energy and really vivid dynamics. Apparently it is now available on SACD but the cost is fairly high. At any rate, this was my favorite version on LP, not sure I have ever heard its equal.
Regarding the Dorati performances, he actually recorded it three times, including both a mono and stereo recrding In Minneapolis. Fortunately, the newer Detroit digital recording is readily available in the Dorati Detroit box set.
I have a soft spot for the versions by Neeme Järvi and Paavo Järvi. And not just because I've written for them. The tambourine drop in both versions are almost the same.
For some reason, DG has always advertised Abbado’s recording as “version original de 1911,” both on LP and on CD. In fact, it is the 1947 revision.
I am surprised that this time you didn´t include the Charles Mackerras´ version with the London Symphony Orchestra on Vanguard. I reckon that as a child I was impressed by the sound of that recording. Also, the cover was verry nice: portraying Igor Fyodorovich as the puppeteer!
It's good, but doesn't need to be on the list.
My parents had a great recording of Petrouska (Pierne?) that was part of a Reader's Digest set, and the liner notes made a point as to how authentically the tambourine drop was performed. Stravinsky's own stereo recording of the ballet is OK for the first 2/3 of the piece, but after that its energy and volume are gone, as if a switch had been thrown. Thank you for your recommendations.
Oscar Danon/ The Reader's Digest Treasury of Great Music/ Chesky also put it out on a CD.
Dorati/Detroit is my favorite, precisely for the reasons you mentioned. I don't remember the Levine at all!
I would opt for a Mahler 6th hammer blow on an old tambourine, or would that not be HIP?
sad to see you’re on David Bruce’s team when it comes to the ending of the full ballet, I honestly think it’s masterful
I mean really, after all, it represents the fading away of the puppet's ghost, so it couldn't be be more perfect. I think Stravinsky wrote somewhere that the two pages of score that end Petrushka were among his very best work, and I heartily agree.
Dear Mr. Hurwitz, you are amazing in uncovering some of the less popular recordings. I have six of recommended. But none of the last top three (sigh). Based on your description it seems that Ancerl should be added? And yes, to listen your fabulous videos and not to press subscribe button, an effort worth of 1 sec, is pure selfishness.
I still have the Antal Doráti Living Stereo recording which is high on my list, and the Michael Tilson Thomas recording as well, I like Thomas' approach.
Mercury Living Presence, not Living Stereo--that's RCA.
@@DavesClassicalGuide Ahhh, ok. But I still like that version. :-)
oh yes great performances of ozawa.....on my lp rca is writing...the pianist of this excellent recording of petrushka is....micheal tilson thomas
Of interest on the Ozawa recording is a young Michael
Tilson Thomas on piano!
Dear Mr Hurwitz, thank you - again - for your amazing video! Could I ask You to clarify the differences between the 1947 revised version and the so called suite version, in terms of which numbers would be not played in the suite Version? It is unfortunately quite confusing, as someone refers to the suite version, as there is no existing score to find from this pure version, and that there are a lot of non official existing "versions" as well as the Stokowski Recording, strongly cutting the original music starting with the Russian Dance lasts in this case only 16 minutes but called also as a "suite". Thank you in advance for your answere !
I'm sorry but that is a complicated question that I really can't answer in this forum. My suggestion is simple: find or stream the Ormandy recording on Sony and just listen to that for comparison. Roughly speaking, the suite cuts out about ten minutes of music from the two central tableaux, and the whole conclusion of the 4th tableaux, including the death of Petroushka, and then adds a short concert ending, but as I said, I can't go into the details here.
@@DavesClassicalGuide thank you for your rapid answere. It was already very helpful!
A fun survey, David. You didn't mention Stravinsky conducting the Suite (along with suites of Pulcinella & Firebird) with the Columbia Symphony Orchestra. Is it worth a listen?
I have a CD of recent piano transcriptions of both the Rite and Petrushka by Jon Kimura Parker that are very interesting and engaging, especially the latter piece.
All of Stravinsky's recordings are worth listening to, but most aren't among the best in that repertoire.
Odd that Boulez would record the first version. Maybe they couldn't get the parts for the revised version.
I was surprised about your coment that there are no russian recordings, because I believe Mravinsky recorded (probably live) the 1911 version. Any coments on it David?
Did I say that?
As of now, the Dorati/Detroit recording can be heard here on You Tube.
My favorite versions are Monteux/Boston and Jurowski/LPO for 1911 and Chailly or Abbado/LSO for 1947. Hard for me to choose among them, so I alternate when I listen to this great work.
David, Excellent and informative video. Being a percussionist myself, I appreciate your focus on such seemingly incidental things as the "dropped" tambourine.
I vastly prefer the original 1911 scoring, since it reflects the opulent style of the era in which it was created for Diaghilev in Paris. That being said, the ONLY 1947 revised recording that blows all other '47's (and most 1911's) out of the park is Levine's with the Chicago Sym, as you pointed out.* It's so DAMNED good...brilliant, detailed, precise...yet it still manages to capture that dynamic richness of the original. Thanks for "rescuing" it here.
I also love the '59 Monteux/BSO. What a document!...despite the fact that he just couldn't get the numerous 5/8 passages in the 1st scene together. Real messy, but still fascinating. I own an early CD of Ancerl's SACRE plus Petrouchka; I've always loved his Sacre-- man, what clarity and GRIT! But I've never paid attention to his Petrouchka; your comments on it mean it's time to give it a listen.
As big a Mackerras fan as you are, I'm surprised you didn't include his excellent 1973/LSO version of the 1911 version. The SACD version has issues, but the performance is very colorful and idiomatic. Then there's always Ansermet's nutty 1957 original version...hard-edged, raucous as ever, with a ponderous, thumping bass drum in the end of the Coachmen's Dance that never fails to thrill. LR
* I heard Jimmy (RIP) do Petrouchka ('47) with the student orchestra at the Cleveland Institute in the fall of '69; he had that ensemble playing as well as any other orchestra in the country at the time (well...maybe not the Cleveland Orchestra, since Szell was still around).
Have you listened to Neeme Jarvi's recording of the 1911 version with the Suisse Romande (included in "The Essential Stravinsky" box on Chandos)? I've been listening to it for some time and find it very colorful, lively and with lots of very good, evocative stuff. I also prefer the 1911 to the revision, so I'm also hunting a bit.
No 1958 Ansermet? It’s awesome
Stravinsky revised The Rite for copyright purposes (only removing a single grace note at the tail end of Spring Rounds - the rest of the score is identical to the original), Petrushka was a genuine revision - entirely to do with orchestration, but a genuine revision nonetheless
Also - as a Bostonian, Ozawa gets shit on because he turned the BSO from that beautiful nuanced French-immersed sound to a much harsher mechanical sound. It works with Stravinsky (sometimes, I saw a Petrushka last year with them and it fell apart countless times), but they still trot out Mahler and Brahms like it's still in their wheelhouse.
The 1947 Petrouchka revision is not entirely to do with orchestration. There are many sections with extensive rebarring and metric alterations. Whether this result in audible changes is somewhat debatable, but it definitely alters the conductor’s approach and the players reaction to what is emphasized metrically. Btw, Dave, thanks for the new video with the addition of the Rosbaud....I enthusiastically echo that one!
Very interesting 🧐 although I don’t understand why someone should not listen to Stravinskij himself conducted version from 1960…we have the fortune to listen to these great ballets conducted from the composer himself (yes I know he wasn’t a good conductor, but he managed to have a great hear so he probably knew what he wanted to listen…)
Hey David!
Have you heard about the Gergiev and Mariinsky version?
What do you think about it?
Unnecessary, both of them.
Well, if Gergiev and Mariinsky haven’t done a good Petrushka or a good Rite of Spring, what Stravinsky piece have they done a good version? (If they did one)
I was surprised no Dutoit w/ Montreal, 1911 version from '87. The strings sound particularly good, as well as the rest of the band.
A bit lacking in character, I think, especially compared to his first recording for DG.
@@DavesClassicalGuide I respectfully disagree. I think Montreal/Dutoit get colors that I just don't hear in other recordings. The sonority in Scene 4 especially. They have a way of creating texture for the soloists to ride on, and then the soloists themselves are magnificent. Everything is well balanced, well in tune, and there are no weaknesses.
Of your suggestions, I listened to Montreux, Ozawa, and one of the Bernsteins. I missed a lot in each that I hear in the Dutoit. I'll have to listen to more.
Keep of the great work! I love your videos! Despite this disagreement, I love your top Sibelius 2 on which my teacher, Myron Bloom, played. He can be heard being ridiculous at the beginning of the repeat of the 4th movement.
@@zachk6932 That's fine. Your hearing may be better than mine here. I generally find Dutoit to be bland, but I respect your opinion and perhaps I should listen again more carefully. It has been a long time since I last heard that performance.
I rread someplace that Stravinsky updatesd so many of his scores mainly to get a new copyright on them. Ya gotta eat, after all...
Oh, I totally disagree about the quiet ending. Theatrically it's quite astute.
But you don't listen theatrically. You listen musically, and taken as music it's threadbare and unsatisfying after what has come before.
@@DavesClassicalGuide Till dies as well, and although his spirit lives on, it is Richard Strauss's masterpiece imho. Petrouchka is a tad barbaric, in a fully Russian way, and Stravinsky cashes in on it.
@@lilydog1000 Lots of people die, especially in Strauss--Don Quixote, Don Juan, the hero in Ein Heldenleben, and Death and Transfiguration STARTS with death!
Mezzotenor I agree - it is after all a piece of music conceived to tell a story, which it does very well. I also find the contrast of hustle and bustle music of the Shrovetide Fair against the angry dissonance of Petrushka's Ghost at the end, musically interesting and effective.
Am i the only one that also thinks the last bar of Rite is a bit of a let down...
I tried lubricating in advance once, but missed my entrance 🤣
No great Russian recordings of Petrouchka? I've always liked the 1960s Melodya-EMI version of Konstantin Ivanov conducting the USSR Symphony Orchestra: bright and lively, very much a ballet score, not symphonic at all.
As I said, no great Russian recordings of Petrushka.
I hope the tambourine death isn't too overwhelming on my dodecaphonic sound system.