I had heard that Pierre Boulez was the ultimate interpreter of Igor Stravinsky’s compositions. This recording certainly confirms that contention. It must be an extremely difficult piece for an orchestra.
To my ears, at this point in time, it sounds very tonal to me. But what this composer achieved like no other in the 20th Century. Just brilliant in the composition and in the dynamics and orchestration. Every time I listen to this piece, I come away with a different emotional experience. Just magnificent. And you hear all the instrument parts going -- even when it's FF!!! Marvelous. And Boulez has given it such clarity and vibrance.
Je viens de réécouter l'émission d'Olivier Bellamy sur Radio-Classique où l'invitée Edmonde Charles-Roux dit que lors de la 1ère du "Sacre du Printemps" sous la direction de Pierre Monteux, les musiciens mirent deux mois à seulement lire la partition d'Igor Stravinsky...
Et donc ? Ca veut dure quoi ? Oui, pour l’époque, c’était nouveau. Aujourd’hui, on la lit sans mal, la partition. Anecdote inutile qui, en plus, pourrait être un mythe, mais ça fait partie des trucs qu’on aime répéter en croyant que ça nous rendra connaisseurs de la musique.
The work of a composer lives with the look we give it. She is not limited to what it is, nor to the person who produced it, she is also made by the one who hears it. Music, painting are a space of questioning and meditation where the senses that we attribute to it can come and be made and undone at any time✨
+Le Piano Pour Adultes "Un journal américain avait demandé à Stravinsky de comparer trois versions du Sacre : celles de Karajan, de Bernstein et de Boulez. Celle de Boulez remporta l'adhésion du compositeur"
+Djo Zouave&Nul Ce sont 3 bons chefs d'orchestre, on ne peut pas les comparer car ils ont chacun leur version du sacre du printemps et Stravinsky est mort en 1921 !!!
Questa registrazione, splendida, pubblicata dalla Concert Hall, forse in taluni tratti a mio parere lievemente migliore di quella celeberrima con la Cleveland Orchestra di qualche anno dopo (CBS-Sony), ebbe nel 1964 il Grand Prix du Disque. Per molti aspetti - analiticità, rigore formale, aderenza allo spirito stravinskiano - resta insuperabile.
C'est un de mes instituteurs qui nous a initié à Stravinsky,j'avais 6 ans c'était en 1964.Je ne le remercierais jamais assez.De lui me vient le goût pour la musique.Cette version de Pierre Boulez est bouleversante,pour moi la meilleure.C'est d'ailleurs celle ci qu'à choisie Siouxee en introduction du morceau Israël en concert.
Boulez' first recording still his best and one of the greatest of all Le Sacre. performances. At number one or two on my list (really love Nagano's 1990s Virgin recording too). Small-scaled and fleet like quicksilver. What an atmosphere.
Stravinsky wrote a detailed critique (section by section with other recordings) and pointed out many serious problems with it. Boulez did a better job in his later recordings.
@@arminhennig1795 I tried to respond earlier, but can't find the post. The review was titled something like "Three Kinds of Spring Madness" and may have appeared in Dialogues and a Diary by Stravinsky and Robert Craft, reprinted from a 1965 Hi Fidelity Magazine article. I recall he reviewed another 3 recordings in a later Craft-Stravinsky book ( that I haven't read for 50 years.)
I'm surprised Boulez conducted a French orchestra at the beginning of the 60's. As far as I know he didn't want anything to do with cultural life in France during this time (hence his move to Baden-Baden).
une version a "tomber" avec celle de KAREL ANCERL. Les deux qui ont bouleversees ma jeunesse ! Le hard rock de la musique dites "classique" en quelque sorte. Plus la version du firebird de RUDOLF KEMPE et la STAATSKAPELLE DE DRESDE (1976) .Merci Mr STRAVINSKY !
@@remipeterschmitt1003 désolé , mais elle m'est toujours inconnue. j'ai des lacunes et il est parfois plus facile de revenir à ce que l'on connait, je vous promet de m'y interesser!! musicalement votre !
Boulez's best recording of this work, in spite of the rhythmic instability in the 'sacrificial dance'. 34 years after Stravinsky's historic 1929 recording with another Parisian orchestra, this section is still creating problems for the conductor and orchestra. On the bright side, Boulez does some interesting and valid things. For instance, he brings out the triplet pizzicati in the second violins after no. 29 to counter the duple interjections of the woodwinds, something you don't hear very often. (Why he stopped doing this in subsequent recordings is unfortunate.) In the 'dance of the earth', Boulez brings out the whole tone scale which permeates the bass in this section, along with the clearly audible triplets in the horns. I suppose that Stravinsky's metronome marking of 168 to the quarter doesn't render this quite playable, so Boulez takes a much slower tempo so that it is. (I prefer the faster tempo, but it's nice, once in a while, to hear the details). In general, there is a noticeable excitement here in the orchestra's playing, which is lacking in the Cleveland recordings. One wonders. I imagine The Rite has become such a staple of the concert repertoire that one can encounter ho hum recordings and performances of it, it's newness having worn off with time. It now requires a conductor who can bring that original excitement back to the hall. Boulez, I'm afraid, was not that conductor.
Ce prodigieux enregistrement de l'éditeur français Adès n'a JAMAIS été réédité au format CD. Pourquoi ?! Un grand merci à Bon plans Classique de nous offrir ici un transfert numérique intégral de bonne qualité (auto 1080p HD)
+Corentin B "Un journal américain avait demandé à Stravinsky de comparer trois versions du Sacre : celles de Karajan, de Bernstein et de Boulez. Celle de Boulez remporta l'adhésion du compositeur"
+Corentin B En l’occurrence je l'ai en cd moi... mais il n'est effectivement plus disponible aujourd'hui... J'ai trouvé mon cd dans une brocante. Il faut fouiner , et avec un peu de chance, on trouve. Sinon ebay, le bon coin etc... on peut trouver des merveilles sur ces sites parfois ;)
Ce qui est prodigieux c'est de voir que cette musique à servi d'inspiration à énormément de compositeurs de grandes musiques de film, et ce jusque dans les années 70. Alors qu'elle date de 1913 !