May 5 - Old New

In dealing with the remaining Dmitri Shostakovich Symphonies digitally, think about all the Igor that's never made the proper digital jump to the MacBook, so set about to change this, and begin importing the second half of the 22-CD Stravinsky Edition (1991) -- an amazing collection, with many of the classic performances by the composer-conductor, which have been familiar for decades, including

Octet (1923)
Oedipus Rex (1927)
Ebony Concerto (1945 -- with Benny Goodman, and vastly better than the earlier Woody Herman recording... which is overdelicate, something Stravinsky tried to ameliorate, and too slow)
Mass (1948)
The Rake's Progress (1951, best recording of this work to date)
Cantata (1952)
Septet (1953)
Canticum Sacrum (1955)
A Sermon, a Narrative, and a Prayer (1961)
The Flood (1962)
Elegy for JFK (1965)
Requiem Canticles (1966, supervised by I.S., under the baton of Robert Craft, who proves himself an excellent conductor of his boss, as he also demonstrated in the works of Varese [although that Webern collection is another matter entirely])


The Nightingale (1914)
Babel (1944, although there's a YouTube version with an even more impressive "go to" guy narrator)

and Craft's conducting of

Song of the Nightingale (1917)
Abraham and Isaac (1963) -- an interesting revelation.

Throughout, not surprisingly, Stravinsky proves his dramatic gift not only as composer but interpreter and coordinator, assembling (or having assembled) a team of distinctive and gifted performers.

Less successful however are the conducted versions of

Tango (the 1955 orchestration)
Agon (1957)
Threni (1958)

Also briefly review Ernest Ansemet's work re some of these pieces: despite his close association with Stravinsky in the early days of the Ballets Russes, the recordings by-and-large cannot compare with the composer's, particularly re spirited tempi and orchestral timbres (the oboes?).

Oh, yes, also pdf Duo Sonata No. 2 (page 3), and compose The Decameron (94) and Psalm 95 (2), with Harriet on this finally-nice-and-warm-mid-day at a Weill Happy End rehearsal.