C0088. IGOR STRAVINSKY: Composer & Performer 1930-1950, incl. Apollon musagète (1950); Capriccio for Piano and Orchestra (Igor Stravinsky, piano; Walther Straram Orch., Ernest Ansermet, cond. (1930); Symphony of Psalms (Alexis Vlassof Chorus, Walther Straram Orch. (1931); Violin Concerto in D (Samuel Dushkin, violin; Lamoureux Orch. (1935); Duo Concertante for Violin and Piano (Samuel Dushkin, violin; Igor Stravinsky, piano (1933); ‘Arrangements by Stravinsky & Dushkin’ - excerpts from L'Oiseau de feu, Petrushka, Pulcinella and Le Chant du rossignol (Samuel Dushkin, violin; Igor Stravinsky, piano (1933); Pastorale (6 June, 1933); Concerto for Two Pianos - Fugue in c, K. 426 (Igor and Soulima Stravinsky, pianos. (1938); Jeu de cartes (Berlin Philharmonic Orch. (21 Feb., 1938); ‘Dumbarton Oaks’ Concerto in E-Flat (Hamburg Chamber Orch., Hans Schmidt-Isserstedt, Cond. (26 June, 1939); (Dumbarton Oaks Festival Orch. (28 April, 1947). (E.U.) 3-Andante 1100. This 3-CD set features Stravinsky's own pioneering recordings of his neo-classical masterpieces with the finest restoration and 24-bit digital remastering from rare vintage 78s plus a 112-page, elaborate sturdy hardcover deluxe three-language book with insightful essays by leading music critics and beautifully presented historic images. Final Copy! - 699487110021
“Surely no composer in history recorded more of his own music (often in duplicate and even in tripcliate) than Igor Stravinsky. However, starting with the contents, he began recording in France in 1930. The lifelong irony was that he lacked any training as a conductor, although thoroughly schooled as a pianist. In his post-European career stateside, Robert Craft became not only his amanuensis but increasingly prepared orchestras for Stravinsky’s recording sessions.
Soulima (Stravinsky’s third of four children) toured widelywith the Composer before the war, and stateside for a shorter time afterward. But a rift developed between them, arguably the increasing presence and influence of Craft who became closer to I.S. than anyone other than his second wife Vera.
Stravinsky’s first recording of the Symphonie du Psaumes in February of ‘31, just eight weeks after its premiere in Paris, is most touching in the final ‘Alleluia’ movement. [Wonderful] to hear his keyboard partnership with Samuel Dushkin in the Duo concertant Stravinsky wrote for his favorite violinist, along with seven encore- type pieces from his ballets, and a brief Pastorale for violin and wind quartet.
Stravinsky himself can be appreciated alone at the keyboard in the A-major Serenade(1925) and solo Piano-Rag-Music (1919). Otherwise, whether in excerpts from Pulcinella or the Octet (despite some celebrated prewar-2 personnel) or the Ragtime for 11 instruments, he had the problem of getting in his own way despite the sharp, short articulation favored. Interpreters since have tended to extend or soften or prettify what the middle-aged composer really wanted, even if he couldn’t always get it. As close as he came on prewar 78s, perhaps, was in the suite from L'histoire du soldat.
Everything said and weighed, [this is] of immense historic value, and to the credit of Andante’s technical staff their transfers from 78s are astonishing at best, and never less than fastidious. Just how they accomplished this you can read in the foreword of each volume.
Whether Stravinsky was ‘unquestionably the most influential composer of the 20th century’ (as Tim Page’s fulsome tribute begins) or one of a single handful of greats - I would nominate Debussy as the most widely and enduringly influential - Stravinsky was an icon, as well as a self-promoter nonpareil. To have this documentation of his fifth decade and part of his sixth is praiseworthy in the highest sense.”
- R.D.,October, 2003