All thanks for this pearl go to our friend Jean-Luc
“Together with Stravinsky’s ‘Le Sacre du Printemps’ , Ravel’s ‘Daphnis and Chloë’ and the Tchaikovsky dance masterpieces ‘Swan Lake’, ‘Sleeping Beauty’ and ‘The Nutcracker’, this disc of Stravinsky’s Petrouchka takes its place among the series of definitive recorded documentations of ballet masterpieces undertaken by Antal Dorati and the Minneapolis Symphony Orchestra for Mercury Living Presence.
# Composer: Igor Stravinsky
# Orchestra: Minneapolis Symphony Orchestra
# Conductor: Antal Dorati
Number of Discs: 1
DR-Analysis: DR 12
Size: 1.3 GB
Antal Dorati can boast of being one of the most idiomatic and superb conductor in Stravinsky in any age. His name must figure at the same level that Ansermet, Fricsay, Monteux, Markevitch, Tilson Thomas.
His ability to recreate atmospheres is unique. Let ‘s admit that to beat Ansermet with Petrouchka is a very hard task but Dorati resolves the score from a different perspective, giving it a turn of page; he gives a major martial emphasis to First Scene and eludes the dreamlike approach of Ansermet to place it an evanescent and elusive atmosphere pregnant of boiling tension and high doses of dissonant chords, cynical environment, a macabre pantomime and percussive accent searching a conception that oscillates between Prokoviev ‘s acidity and Bartok ‘s anguish.
The result is brilliant, making Stravinsky works out as the perfect link between the Apollonian expression and the collective unconscious; mercurial and wild; merciless and incisive. I don’ t think you can find easily such approach in these modern times. There were a true kaleidoscopic collection of wounds without healing around the world: winners and losers struggled by the hopeless and collective fear found in this music a perfect cathartic device.
Recorded during March of 1955 in the Northrop Memorial Auditorium on the University of Minnesota campus, this performance was taken with a single Telefunken microphone and with the orchestra seated in normal concert arrangement on the stage. A special study was made of the auditorium reverberation characteristic and its relationship to the illusion of presence in solo and ensemble texture before arriving at a decision regarding the final microphone placement and the stage area where the orchestra would be seated. In short, special pains were taken to achieve a maximum of tonal “warmth” with no loss in clarity of orchestral texture. We call attention also to the balance of the important solo piano part in the Russian Dance and Petrouchka’s Room episodes midway in Side 1, as well as to the percussion and brass through the whole of In the Moor’s Room (latter third of Side 1) and to the muted trumpets which signalize the return of Petrouchka’s ghost at the conclusion of the ballet (end of Side 2).”
|Petrouchka – Burlesque Scenes In Four Tableaux|
|A1||I. The Shrovetide Fair; Russian Dance||9:54|
|A2||II. In Petrouchka’s Room||4:02|
|A3-B1||III. In The Moor’s Room; Dance Of The Ballerina And The Moor||5:10|
|B2||IV. Grand Carnival—Dance Of Gypsies, Coachmen And Grooms; The Maskers; Death Of Petrouchka||13:25|
Analyzed folder: /96k Stravinsky – Petrouchka – Dorati
DR Peak RMS Filename
DR15 -0.62 dB -20.65 dB A1 Petrouchka – I. The Shrovetide Fair – Russian Dance.aif
DR16 -1.51 dB -23.84 dB A2 Petrouchka – II. In Petrouchka’s Room.aif
DR18 -2.08 dB -26.16 dB A3-B1 Petrouchka – III. In The Moor’s Room – Dance Of The Ballerina And The Moor.aif
DR13 -0.32 dB -18.84 dB B2 Petrouchka – IV. Grand Carnival – Dance Of Gypsies, Coachmen And Grooms – The Maskers – Death Of Petrouchka.aif
Number of files: 4
Official DR value: DR15
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If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music.
Enjoy the music, not the ticks & pops.
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