Stravinsky, Igor - Pulcinella Suite
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- čas přidán 7. 04. 2020
- Tonhalle Orchester Zürich - Alondra de la Parra (2017)
As is well known, Stravinsky fashioned his ballet, Pulcinella (1919-20) after music of Giambattista Pergolesi (1710-36). He was originally not enthusiastic about using such source material but acquiesced to the wishes of the persuasive impresario Serge Diagilev. In the end, the composer drew on some Trio Sonatas, three operas--Lo Frate ‘nnamorato, Il Flaminio, and Adriano in Siria--and other works of Pergolesi. The character Pulcinella was taken from a 1700 manuscript featuring various comic episodes. The ballet was a great success at its May 15, 1920, premiere, and in 1922 Stravinsky decided to extract a Concert Suite, scoring it for the same chamber-sized ensemble. He made minor revisions to the Suite in 1949.
The original ballet score featured eighteen numbers, whereas the Suite is comprised of eight. The latter's third movement, however, has three sections, and the eighth, two. Thus, the reduction is far less than half: a typical performance of the ballet music would last around forty minutes, and that of the Suite about twenty-five. The vocal parts from the original score, found in the second and eighth movements of the Suite, were eliminated by Stravinsky, their music being assigned to various instruments.
The first movement of the Suite, the Sinfonia, is the most famous. It features a confident, ebullient theme. The rhythmic verve and harmonic twists of this Neo-Classical music is nearly as compelling as the distinctiveness of the theme. The Serenata, that follows, features the lovely tenor solo (taken from Il Flaminio), but is here given to the oboe and other instruments. The third movement is comprised of a Scherzino, Allegro and Andantino, each divulging much color and, once more, great rhythmic interest. The first two sections are based on material in Pergolesi's Trio Sonata II and the third on the Trio Sonata VIII.
Thus far the five sections correspond to the first five in the ballet. The next, however--the Tarantella--relates to the twelfth movement in the ballet, and is thus based on Pergolesi's Trio Sonata VII. The Toccata, that follows, corresponds to the fourteenth and, like the Tarantella, features quite jovial music, again with infectious rhythms. The Gavotta con due variazoni and the Duetto, are the counterparts to Nos. 15 and 16 in the ballet score, and the latter features the most humorous music in the score.
The last two sections here, Minuetto and Finale relate to the penultimate and closing movements in the ballet. The Finale features a short rhythmic theme that has also become popular. It sounds as Stravinskyan as any music in the ballet, which might suggest that the composer wanted to cap this heavily-derived score with his individual touch.
Each movement here features different combinations of instruments, as in the ballet score. There has long been discussion regarding how much of the music in Pulcinella is Pergolesi, and how much is Stravinsky. However musicologists answer the question, there is little doubt that even if the music belongs to Pergolesi, the masterpiece belongs to Stravinsky. - Hudba
Pulcinella (Suite dal balletto) - 1922 -
Sinfonia 00:21
Serenata 02:30
Scherzino - Allegretto - Andantino 05:38
Tarantella 10:09
Toccata 12:12
Gavotta (con due variazioni) 13:30
Vivo 17:41
Minuetto - Finale 19:25
its from 1919/1920
Una obra impresionante. Alondra de la Parra genial.
très bon orchestre bien dirigé par une femme ce qui est rare .Bravo philippe litzer vous illuminez l'orchestre
Excepțional performance, full of grace and elegance.
A real joy for the ear, heart, and mind. Stellar performance of a true, delightful classic!
Thank you so much !
Desde España, mi admiración por la depurada interpretación de Alondra de la Parra.
LOVE to see the conductor's expressions... sublime
Some sub-limes are for example:
-key lime
Remarquable performance!!!
Sweet, saucy, lamenting . . . a beautiful piece and well executed! I love this!
Without a doubt the most beautiful performance of this piece ever.
Very clear performance, in style.
Very good performance !!! Well done to all !!! Musical greetings.
Beautiful performance and beautiful conductor
Herrlich! Ich beginne letztens fast jeden Tag mit dieser Aufnahme!
Es hilft gerade in Zeiten wie diese, hebt die Stimmung. 🎶👌🙂
What a refreshing face to behold in that of 'Alondra de la Parra' beautifully conducted in my opinion!
a performance full of absurd inaccuracies -strange to make pubblic a video with such a good orchestra conducted without respect as it would be a guitar…you cannot conduct smiling all the time :it is not a sign of serenity but of insecurity
Phantastisch gespielt. Gratuliere.
淀みの無い快適なテンポで、道化の諧謔が愉しく、しかし、鋭敏に演奏されている。マエストロとhr交響楽団の魅力的なパフォーマンスに乾杯！
Always love the one by Neville Marriner with The Academy of St.Martin in the Fields, but love this even more! Stravinsky is irreverent fun and the spark in these dark & depressing times! Though, only wish the trombone flatulence could have been bolder! Great orchestra and beautiful conductor.
It would be really nice to hear this with better fidelity and 720p or (heavens) 1080p vision. Thank you, regardless.
Very nice write-up in the description by Phillipe.
Maestra Alondra eres una gran artista...¡¡ Con tu carisma, logras la magia de ser inspiración para tus músicos, con tu increíble forma de sentir la música logras también la magia de traducir a sonidos la esencia de las obras de los compositores y además logras conmover las almas de nosotros tu público... Simplemente eres maravillosa...¡¡ Bravo...¡¡ Felicidades y bendiciones.
The large number of comments focusing on the conductor pretty much sums things up: This was mostly about her. Best part: 17:40, when the bassoonist gets his breath.
¡¡¡Alondra de la Parra!!!
Un capolavoro universale.
Buona interpretazione, in qualche momento un poco veloce, mi pare.
Best of Musik Ever
Pasar de ver y escuchar una sinfonía de Beethoven, y maravillarse con una interpretación como esta es invaluable...
This is amusing. OK, full disclosure: I am a trumpet player. But even when the TUNE is being played by the trumpets, I don't see a single shot of them. All we see is a smiling conductor or bassoons playing running eights. Whoever is choosing the shots on this video, in live performance or in post production, seems to think the trumpets don't exist. Off I go to another video ... .
Pure anemoia.
If this conductor doesn’t just absolutely love this music, she sure has a strange way of showing that. PS, I’m in the same camp.
Alondra, acepte mi mano....A mis 74 años es lo único que puedo ofrecer.
What a nice piece of music! I love it since decades. And to see a beautiful and passionate woman like her steering this ship is a real pleasure.
What a discovery!
I'm a musician myself from my deepest heart and love music - listening and playing - since my early childhood days - thanks to my dad. Experience her makes me think about how it was to have someone like her as partner on my side. She's so beautiful and so in it. Oh, when she smiles... I'd love to be in this orchestra and obeye every little wink of her hands, eyes and browes. Okay, I'm dreaming but I suppose that is allowed...
Ahhh... I've nearly forgotten to mention it: The ensemble is of course brilliant as well! Cheers from Berlin
Love the trombone part on this!!! (I play trombone myself. Would love to play it.)
Music , based not only Pergolesi ( also a few other composers )
Increíble Alondra de la Parra. Pasión, carácter y la transparencia que exige Igor. Mi respeto y admiración por ella desde Chile.
Audio does not match video.
Neo-Baroque!
Menos mal que la orquesta es excelente que si no se va todo al guano varias veces. Poderoso caballero es Don Dinero.
2:30
13:30 etc
Oboe solo
An ok performance, but the audio is not quite in sync with video. My favorite is the Frankfort Radio Orchestra performance.
What a fantastic performance! Great conducting.
I always think that the proud, sweet oboe solo launched at 0.40, repeated at 1.25 on cello and at 2.00, especially gorgeously, on violin, was probably the first time in decades that music teachers and theorists educated in the 19th-century thought the emblem child of Common Practice, a melodic, modulating descending harmonic sequence had been rescued from steady decline and oblivion.
Ma i cantanti?????
12:32
I love this music, but this performance is not accurate, e.g. the Tam/Tam in the deep strings at 0:27/0:28.
If you compare that to the short recording of Berlin Philharmonic Orchestra/Rattle @ youtube you hear what I mean.
at17:41nobody wants to see the conducter,we all want to see bassman !
Bassman!!!
Is lento and patient
What is lento? EDIT: Bing says very slow. Hmm. Ya think?
Very pungent performance- hair-raisingly fast most of the time. I think the last bar is better as Stravinsky intended- ie with no ralentando. Tempo giusto!
音と映像の再生タイミングがずれていて指揮の人の印象が悪くなる。可哀想。
This interpretation is too fussy and "micro-managed" for my taste. I don't like the exaggerated dynamics. This music should be kept simple and terse. It speaks for itself; no need for added frills.
🤔 Hmm.
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The composer is a little affectatious and disingenuous. I was longing for sincerity the whole performance. Close your eyes and listen, do not watch the video. It's disheartening.