I think its interesting how you can still hear Stravinsky's style and rhythmic tendencies through this piece. Its also funny how imo most of the orchestral parts sound like Stravinskys style in his neoclassical period as it already resembled 12 tone writing. Gotta love serialist Stravinsky.
This piece was Stravinsky's response to what was happening at Darmstadt, Boulez and Stockhausen, et al. But in fact the music is nothing like theirs, either rhythmically or harmonically, or in tone. A nod to Webern, it is still consistent with Stravinsky's compositional tendencies at the time - pedal points, fifths, major sevenths, tonal centers, etc. - even if the music is serial.
I don't know if it was simply Richter's touch, the piano he used, the technicians that produced his recordings or some combination of these things but his sound is always exemplary in a way I have never found anyone else to be so consistently. I don't know if it's a Russian thing: whether it's a result of Russian piano technique or the way that they produced their records, but god damn the dude produced some amazing recordings. I still have his WTC as my go to.
20세기 전반 - [음렬주의] 스트라빈스키 - [피아노와 오케스트라를 위한 무브먼트] [12음 기법] : [완전한 무조성 음악]을 [성취]하기 위하여 [음렬]을 만들어 [12음을 모두 한번씩 사용]한다는 것이다. 이렇게 해서 만들어진 (음의 나열)을 [＊기본 음렬] 이라고 한다. 기본음렬을 [1)전위] [2)역행] [3)전위역행] 시켜 [철저하기 무조적]이며 [체계화된 음악]을 만드는 작곡 기법이다 [스트라빈스키] : 1기 : 러시아 시기 : (발레 3작품 ①불새 ②페르트슈카 ③봄의 제전(원시주의) 2기 : 신고전주의 : (풀치넬라) (마브라) (관악기를 위한 8중주) (오이디푸스 왕) (피아노 소나타) (시편 교향곡) 3기 : 음렬(12음)주의 : (칸타타) (피아노와 오케스트라를 위한 무브먼트) (레퀴엠)
I am aware that I belong to a minority, but I do not find in this performance anything of the Austrian freshness embodied in Schubert's music. Compare Richter 4:57 with th-cam.com/video/fbwmId4m4h4/w-d-xo.html at 3:08
@@ContemporaryClassical I suppose this person was maybe asking the same question I've always wondered myself: How do channels like yours produce these videos of esoteric music scores? Do you have to buy each score and scan it or do you just spend a lot of time diving around on the internet for them? In any case, thanks for your effort. It is greatly appreciated by folks such as myself.
@@maxmcwhirter5456 Thanks for your question. It's a mixture. Sometimes we find them online, sometimes I own the score in question. This one was rescued from a deleted channel on YT, and I re-edited with the repeat.
Horrible. Absurd. Did they listen to the version conducted by IS?! If they did, why did the hell they deviate from it?! If not, it is a very interesting document of how much tradition matters when it comes to performance
![Igor Stravinsky - Capriccio for Piano and Orchestra [With score]](http://i.ytimg.com/vi/PXWlkshdCBs/mqdefault.jpg)
This is an outstanding recording and performance!
I think its interesting how you can still hear Stravinsky's style and rhythmic tendencies through this piece. Its also funny how imo most of the orchestral parts sound like Stravinskys style in his neoclassical period as it already resembled 12 tone writing. Gotta love serialist Stravinsky.
This piece was Stravinsky's response to what was happening at Darmstadt, Boulez and Stockhausen, et al. But in fact the music is nothing like theirs, either rhythmically or harmonically, or in tone. A nod to Webern, it is still consistent with Stravinsky's compositional tendencies at the time - pedal points, fifths, major sevenths, tonal centers, etc. - even if the music is serial.
I don't know if it was simply Richter's touch, the piano he used, the technicians that produced his recordings or some combination of these things but his sound is always exemplary in a way I have never found anyone else to be so consistently. I don't know if it's a Russian thing: whether it's a result of Russian piano technique or the way that they produced their records, but god damn the dude produced some amazing recordings. I still have his WTC as my go to.
This is such a beautiful recording.
I start to wrote contemporary music since 2019, my mind changes so much.
I. Love. This.
Very few strings are used in this recording. I like it.
Stravinsky really seems to be under the spell of Webern in this piece, but the harmonies are still Igor.
To be under the spell of Webern is among the greatest of blessings!
Webern, but with a twinkle in his eye...and all those 'forbidden' 5ths and octaves!
Nice
beautifull piece, great.
Great! thanks
Check out my Late Stravinsky playlist: th-cam.com/play/PL8hVc6VvPyKK6wGjDYahhA8O1mzfdJek1.html
Bravo.
20세기 전반 - [음렬주의]
스트라빈스키 - [피아노와 오케스트라를 위한 무브먼트]
[12음 기법] : [완전한 무조성 음악]을 [성취]하기 위하여 [음렬]을 만들어 [12음을 모두 한번씩 사용]한다는 것이다.
이렇게 해서 만들어진 (음의 나열)을 [＊기본 음렬] 이라고 한다.
기본음렬을 [1)전위] [2)역행] [3)전위역행] 시켜 [철저하기 무조적]이며 [체계화된 음악]을 만드는 작곡 기법이다
[스트라빈스키] : 1기 : 러시아 시기 : (발레 3작품 ①불새 ②페르트슈카 ③봄의 제전(원시주의)
2기 : 신고전주의 : (풀치넬라) (마브라) (관악기를 위한 8중주) (오이디푸스 왕) (피아노 소나타) (시편 교향곡)
3기 : 음렬(12음)주의 : (칸타타) (피아노와 오케스트라를 위한 무브먼트) (레퀴엠)
what instrument plays the low G between 5:08 and 5:23?
That's a good question. It's the harp played by near the soundboard, "près de la table". Might be time for me to do a full score version....
This performance is simply grotesque. How to spoil a masterpiece. Please, listen to how IS conducts it
Have to disagree with you on that. I think Richter is a sympathetic interpreter.
I am aware that I belong to a minority, but I do not find in this performance anything of the Austrian freshness embodied in Schubert's music. Compare Richter 4:57 with th-cam.com/video/fbwmId4m4h4/w-d-xo.html at 3:08
Score?
?
@@ContemporaryClassical I suppose this person was maybe asking the same question I've always wondered myself:
How do channels like yours produce these videos of esoteric music scores?
Do you have to buy each score and scan it or do you just spend a lot of time diving around on the internet for them?
In any case, thanks for your effort. It is greatly appreciated by folks such as myself.
@@maxmcwhirter5456 Thanks for your question. It's a mixture. Sometimes we find them online, sometimes I own the score in question. This one was rescued from a deleted channel on YT, and I re-edited with the repeat.
Horrible. Absurd. Did they listen to the version conducted by IS?! If they did, why did the hell they deviate from it?! If not, it is a very interesting document of how much tradition matters when it comes to performance