This is not Stravinsky
OrchestrasThe new Rouvali/Philharmonia Firebird/Petrushka album has an elegantl booklet which closes with a photo of one ‘Igor Stravinsk’ (sic).
Er, actually the conductor George Szell.
The new Rouvali/Philharmonia Firebird/Petrushka album has an elegantl booklet which closes with a photo of one ‘Igor Stravinsk’ (sic).
Er, actually the conductor George Szell.
Message from the Vienna-based Russian soprano: “I am…
We’re hearing that the Vienna State Opera has…
The atmosphere in the Serb capital Belgrade just…
We’ve been given to understand that tonight’s Lebrecht…
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Ouch! That’s quite a blunder. Not quite in the same league (of faux pas), Symphony Hall has chosen to illustrate its Good Friday performance of the St John Passion with a video clip playing the St Matthew Passion.
As long as it was not La Vie parisienne. . .
https://bmusic.co.uk/events/good-friday-st-john-passion-300th-anniversary-with-ex-cathedra
An easy mistake to make. Like mixing up Vladimir Putin and Paavo Jarvi. …. NOT.
An early April fool’s joke maybe?
Maybe they figured others have published actual photos that showed the “same form so many times over” and it was time to mix it up: wouldn’t want to thought a “dull fellow,” after all…
Igor Stravinsky might have said: “The Cleveland Orchestra and I do a great concert, and George Szell gets a great review.”
Heh, well, something along those lines could actually be said about Stravinsky’s recordings with the Cleveland Orchestra back in mono LP days. Suddenly he was a great conductor after all!
The list of record company blunders and typos is a long one, including Yehudi Menuhin’s recording of the Bloch Concerto naming the wrong orchestra entirely on the front of the record jacket. It assuredly is NOT the Bath Festival Orchestra.
But for sheer charm few such blunders can match good old Everest Records, which in a jacket liner note praised Manuel de Falla’s immortal “El Amor Banjo.” Until then few Falla scholars were aware the action takes place in Alabama …..
Are there any pictures of Stravinsky and Szell together? I think not thereby proving the story that they were one and the same person!
A unique szelling point…LOL.
Bigger question: Is Rouvali’s Petrushka Stravinsky? Or Makela’s? I love Makela and the sound is gorgeous, but these f-p-f-p in the cornet, do they really belong?
Yes. It’s a change from the 1911 version made by Stravinsky for the 1947 revision. I wonder how many conductors know this and the reason why.
Thank you very much, I was wondering. The recording is a feast for the ears.
It’s not the only error Philharmonia management has been making of late. More to the point, the two performances are distinctly sub-par. I went to both concerts from which these live recordings originate , and came away feeling very dissatisfied. The detail replaces any larger sweep and one searches in vain for any bubbling vitality, especially in Petrushka. Which prompts the question why certain artists get to make recordings of works about which they have absolutely nothing to say.
Even Stravinsky was afraid of George Szell….
they were one and the same person so very probable in a Jekyll and Hyde way.
I can hear certain commentators saying, “That’s the problem with these classical types. They have to be so picky. What does it matter? They look similar and their last names start with S.” (Joke!)
This reminds me of Sony Classical congratulating (guitarist) John Williams on the occasion of his…90th birthday.
It seems that the randomness of digital streaming platforms promotes the disconnection of music from its creators.
This sort of thing happens all the time. Too many ill-educated people producing declaratory items, from news reports to p.r. They are under-informed due to dumbed-down “education.”
They have NO frame of reference. They do not recognise things that just a generation ago would have been common knowledge. They do not “look things up,” and they do not check, or know how to. We have recently seen instances on this very blog where people have not even checked with Wikipedia, which anyone serious knows might be a useful starting point but is NOT to be taken as definitive in any dispute.
When I was a reporter, and a critic, every single assertion I made was checked by someone hired for that very function. Most things checked out, but if there was any query as to how I had arrived at anything I had submitted to the publication for print, someone called and CHECKED. I had to have my rationale, or evidence, at the ready. I once used a Latin phrase in a sentence in a magazine; the editor himself called and proposed a different one that he thought would score my point even more decisively, to which I happily acquiesced. My choice had not been WRONG, and he would have allowed it; his was just better.
Clearly that sort of thing, and copy-editing, have long since died. What is worse, their disappearance has had endorsement, starting from a White House that denied the fact as a useful element in any dialogue, and denied the existence of truth — and mocked those who sought it.
The lack of care is dispiriting. It inevitably spills over from the way people are treated in communications to the way they are treated in real life. Not pretty.
I have a geza anda box set of cds.
A booklet all about the music. But not
Any details about the pianist. The box set
Of vinyl has all his biography this is the
Mozart piano concertos.
Lack of care, indeed. You’d think that those at the top of management would have sufficient quality control measures in place. Yet another instance of poor standards at the Philharmonia came in the programme book for last Sunday’s concert in which the main work was Mussorgsky’s Pictures, not in the Ravel orchestration but in the arrangement that Stokowski made. This is so rarely performed that it needs a bit of back-up for the punters. Yes, Stokowski’s name was mentioned. But that was all. No explanation about who he was and his place in musical history. And there wasn’t a single reference to HOW the Stokowski version differs from the others.
I would have thought that’s Richard Strauss, the guy that wrote the Blue Danube Waltz and many other famous waltzes.
Same hair style
This reminds me of a foto in the Famagroan magazine of a new release of Brishit music with the caption: “Sir Adrian Elgar….!”
The hybrid named certainly had an impressive moustache!
Hope that’s merely a typo there!
Maybe this album text was written by the same people over at ENO who thought that Richard Strauss was the son of Johann???
https://slippedisc.com/2024/03/ignorance-abounds-at-english-national-opera/
On a larger scale, remember the 2019 Oscars telecast, when the annual “Those We Lost” tribute included a photo of the very-much-alive Leonard Slatkin instead of the deceased Andre Previn–seen by millions and followed up by multiple apologies, as I recall.