| Review by Oakland May 2, 2010 (5 of 7 found this review helpful)
|
|
Because this disc serves as my introduction to each of these four (4) compositions I must gloss over the performances. (I do have “Symphony of Psalms” as a ”filler” on a couple of discs but I don’t remember anything meaningful about the performances). For the uninitiated (yours truly) to these compositions, I found the performances to be eclectic, palpably different from each other, harmoniously connected and with more to discover with each listen. There is very little that is pedestrian about these works. And more importantly, I have found it worthy of multiple listens, in large measure due to collection of compositions as much as for the featured "Symphony of Psalms".
For many (most?) listeners, even those familiar with Stravinsky, there is much to discover here. And after only 4 or 5 listens I have barely scratched the surface. I immediately discovered distinct aspects of Stravinsky I did not know existed, his neo-classicism side, not to mention his liturgical/religious side. For me, these works do not fit into the “proper” conventional wisdom of Stravinsky music. And that is a refreshing revelation.
Along with the marquee “Symphony of Psalms” (the last composition on this SACD), the accompanying three others confirm just how brilliant and versatile a composer Stravinsky was (even if he did generously “pilfer” :) from or “sample” [hip-hop lingo], lift, recompose, cover, or paraphrase other composers).
I have recently been looking for more SACDs of “smaller works”. Well, three of the four compositions actually tilt in that direction. (Not necessarily smaller with respect to quantity of musicians (although that is certainly the case, but smaller with respect to scale). Even the title composition, “Symphony of Psalms”, while sharing more kinship to the neo Romantic Stravinsky, it is “Stravinsky” with restraint. Plus I have always had a special affinity for quality choral works. And three of the four compositions are scored for chorus, and/or chorus and soloists making disc for a special bonus for me.
Symphony of Psalms is easily the more expansive, and more exciting of the works on the disc, as to be expected. It is also the most “Stravinsky” of the works. Obviously, (or maybe not) it derives its name from Biblical Psalm texts. With its neo Romantic flavor, most interesting instrument scoring, uniquely sonorous pianos, characteristic (or perhaps not so characteristic) Stravinsky ostinatos, a multitudinous and intricate four-part chorus, I took to this work like a duck to water. Interestingly, this work seems to be fully traditional orchestration (on first listen), including some strings, but on second listen I noticed I didn’t hear violins! I already enjoy this work and I have yet to really “know” it.
Obviously the draw for this SACD is "Symphony of Psalms". But at only 19 minutes, the old adage “it’s the strength not the length” only goes so far. Especially since the entire disc is a rather sub par 50 minutes. So, much of the burden of credibility and worthiness rests with the lesser-known smaller compositions. So far, I find these miniature works (minature by length, not quality, averaging less than 10 minutes) to more than hold their own. (Interestingly, the second composition “Mass” for mixed chorus and double wind quintet, the entire Mass is less than 15 minutes! Sure wish our Diocese had subscribed to that liturgy when I was growing up!). I was not especially enthralled with the content of these smaller compositions on first listen. But I have learned for me that doesn’t mean a thing. And not surprisingly I found the second and subsequent listens to be far more compelling. These works can be described as colorfully tuneful with an engaging mixture of musicians, chorus and soloists.
Earlier I teasingly implied that Stravinsky might have generously quoted material from other composers in the smaller works. Well, while listening to the third composition, “Choral-Variationen” I said to myself, “that sure sounds like Bach”. I grabbed the liner notes and sure enough, the composers are listed “Johann Sebastian Bach *and* Igor Stravinsky. Was Stravinsky successful in his interpolations to make the music “his own”? Not being familiar with the source material I can’t say with certainty, but I have to believe this to be the case. Interestingly, however, the liner notes suggest that for one of the compositions, “Monumentum” that the reference to “recomposition” is “perhaps an exaggeration” because in the last two (of three) madrigals “he patched up orchestrally without really adding anything new”. This short work (about 6 minutes) is the least interesting of the of the 4 works.
But overall I found the light “classical” tenor of these 3 miniature compositions to be exceedingly refreshing, enjoyable and for 2 of the three the inclusion of voices really makes these works flourish .
It is with this type of music that poor musicianship can be ruthlessly exposed. But I thought, the Royal Flemish Philharmonic, for which this disc serves as my introduction (I think), displayed excellent musicianship. The “chief” conductor of the Royal Flemish Philharmonic is Jaap van Zweden, who performs the more large-scale orchestra works, and with whom I am Familiar from the Exton label. So, this is no lower tier orchestra. The conductor for these works is the “principal” conductor, Phillippe Herreweghe.
This disc, especially Symphony of Psalms, is flush with major roles for chorus and soloists. I have not yet closely followed along with the descriptive text for any of these works. So, I have much to explore and learn.
What about the sound? Their is a recent forum thread: For MultiChannel Enthusiasts - What is it with the vaque, wandering center image now found on some PentaTone recordings?
/showthread/53897//y?page=first
Due to this thread I listened to this Pentatone disc with heightened focus. I did not experience the effect described in the thread title. But I will listen again this afternoon. I can vouch for the rock solid soundstage that is expansive from side to side, with oodles of depth and height, all with very realistic proportions. The detail and imaging are very fine, as is musician placement that holds solid. For example, woodwind placement is just about spot one, perhaps a row or so closer than my reference discs, but instrumentation for these works is anything but standard, so perhaps the placement is reflected accurately. I'm not so sure about the reality of chrous placement(s). I will need to listen further to assess that. For sure the soloists are depicted very clearly along the horizontal plane as well as back to front. The chorus(s), too are vividly “seen” left to right and with depth but I don’t see it (them) distinctly behind the musicians. Also, at times the chorus(s) don't seem to be as full-bodied as perhaps they "should". But this is perhaps the majority of the voices are sopranos and altos. And this is slightly more of an issue with two channel playback. This is an “audiophile” quibble, and may not be an issue for “music lovers”. The music is projected wonderfully, regardless with great sound harmoniously balanced by the composer as well as the Pentatone engineers.
The smaller works exhibit surprising dynamic range (micro and macro)and all without the "benefit" (or perhaps “crutch”) of low bass “slam” or high sound levels. Even the Symphony of Psalms the low bass is pleasingly and effectively controlled and sane. Of course, the dynamic range is more “Stravinsky” like.
But so far a most impressive sound quality virtue about this recording is that speaker position is *never* given up or betrayed by the music or engineering. I mean, at some point, even in the best of recordings, at a momentary lack of transparency, the music will expose the speaker, disrupting the illusion, if only for a few seconds for being what it is, just a speaker. But not with this recording. Some audiophiles find that suspension of disbelief is aided by closing their eyes. I am not among those. I find that even in the light of day this is a recording of exceptional transparency.
I rate the sound most highly. I also find the "musicianship" eminent. However, because I am unfamiliar with the performances of these works a rating on performance is not really possible. However, However,
|
Was this review helpful to you?
yes |
no
|
|
| Review by gonzostick June 22, 2010 (6 of 9 found this review helpful)
|
|
Delightful disc of late Stravinsky, ending with a lovely performance of the Symphony of Psalms. Ever since entering his "neo-classical" period, the composer sought to further accent his already-present compositional tendencies. These made him a natural for a revival of classic principles of composition by achieving and expansion of his style through absorption and synthesis, taking into himself the work of men as far back as Gillaume de Machaut and his isorhythmic counterpoint. The use of isorhythms in the Notre Dame Mass involves the repeated use of melodic/rhythmic figures that revolve in different length periods against each other, inside a polyphonic texture.
Of course, the above, just like the incredibly overblown notes that accompany this release, mean nothing, if the music on the disc is not good and the performances are not delightful. I am pleased to report this disc is simply wonderful.
The sound quality is just close enough to give us the sound of the clicking keys in the altered orchestra of the Symphony. NO upper strings -- no violins or violas -- and LOTS of winds, plus two pianos and percussion. The chorus, using vibratoless singing, is PERFECT for the piquant harmonies and dissonances in this music. There is great depth in the imaging of the ensemble, especially in the SofP. The straight sound of the Collegium Vocale and their impassioned singing will make the hair stand up on the back of your neck in the Symphony! Tempos are bracing, yet controlled. There is great passion in the performance, but always under control.
Also, Herreweghe succeeds where many conductors fail, in the Symphony of Psalms: the last movement does NOT sound like an anticlimax. THAT is a great accomplishment. Even Stravinsky did not accomplish this in his CBS recording. The other recording that manages this feat is Boulez with Berlin Philharmonic on DG RBCD, but the recording has a terrible edit in the first movement of the SofP that is execrable and adds about 1/2 beat of music. I cannot believe how poor the quality control was at DG back then. I also wonder is Boulez was too busy to listen to his own recordings before approving them. Seriously sloppy memento from one conductor whose work I have admired since hearing him live in the beginning of his tenure with the New York Philharmonic.
The performance of the Mass for chorus and winds is ecstatic, yet also as dry as the music requires. the Canonic Variations work is also performed beautifully.
ANOTHER WINNER FROM PENTATONE!!!
Three cheers!
PS: In many years of studying Stravinsky's music, I have always thought he was a classicist, from the very beginning, no matter how opulent the setting. Just note how clearly articulated his musical ideas can be, even in "midst of battle" in works like Sacre, Firebird, Petrushka, and Rossignol.
PPS: About Stavinsky's "pilfering" as denoted by the other reviewer on this page...
If I may paraphrase the composer, he said, "Good composers borrow, but GREAT composers STEAL!" (my emphasis) Do get this disc...
|
Was this review helpful to you?
yes |
no
|
|
Sonics: 
