Igor Stravinsky, Renard - Ensemble intercontemporain

[@jonrutherford6852]

I've loved this piece for many years and this may be the best performance of it I've heard. Certainly the best sound engineering of the versions I've enjoyed, too.

[@JafuetTheSame]

Did you hear Robert Craft's?

[@Bashkii]

Great performance! This piece is never included on concert auditoriums. It's too bad cause the music is as fun as it gets. 👍🏻👍🏻👍🏻

[@jackgallagher9949]

Wonderful, vibrant performance! Thank you for posting!

Fantastique! Quelle merveilleuse interprétation

[@MiaFeigelsonGallery]

Commissioned and dedicated to Winnaretta Singer, Princesse Edmond de Polignac in 1916. Congratulations on your performance !!!!

[@gerardbegni2806]

With the story of the soldier, this piece is a part of the transition pieces from the first period of Stravinski to the neoclassic period. As such, it is very interesting to hear and follow.

[@acoolpianist]

Hello, I'm interested in the story, or the lyrics... Any sources in English?

[@amandacardwell8856]

I mean, it was premiered during his third period and written during his second period, (his "Swiss" period, during the war.) Could you elaborate on how Renard is related to his first period? (Referencing Taruskin and Maes here.)

[@gerardbegni2806]

@@amandacardwell8856I wrote that the style is a part of the transition between the two periods, just as The soldier's story. (and even 'Noces', which a can be anayzed against the first pr eriod criteria)Actually, if you look at the rythmic patterns, the Soldier derives quite clkerly from his first period (see the analysis by Boulez), while the melodic and hamonic style belongs rather to the second period (note hwever that the themes in 'the rite of Spring' are usually very simple against a much more complex rythmic and harmonic writing (so, the famous opening theme in the bassoon treble in in modal a minor, contrapucted by a dissonant C# in the horn against a natural C in the melody : this can nevertheless be considered as an unresolved appogiatura, indicating a plagal A minor, in spite of the modal ternds of the melody - there may be several explataions; none can be considered as 'the right one'; this is the cas for almost all the themes). I can fully agree with you upon the fact that 'Renard' is more closely related to the neoclassic style than to the first one. The links to the first period are Indeed tiny, but they exist.. This is very difficult to elaborate here. We should study together the score to find out these tiny links (both rythmic and harmonic) ------- Cheers.

[@amandacardwell8856]

@@gerardbegni2806 I understand that Stravinsky, during his final period, approached techniques used in his first period, but I don't know that Noces is a good example; the reason I say that is because of his percussive writing. He used so little percussion in his first period that to reinvent his first period ideas and add the first ever percussion chamber music, to me, is a stark contrast. (not to say there aren't links between the periods, you're absolutely right about that.) Thanks for your take!

[@gerardbegni2806]

@@amandacardwell8856 Dear Amanda I think tht during his first period Stravinski's technical curiosity was very high, and he experimented a lot both in large orchetral scores and in chamber music. For instance, the rythmic writu=ing of the >Soldiers' s tale clearly derives from The rite of spring, defined to its most direct expression. I think that the same happens with Noces. In 'The rite', you have a very large percussion section (see the score, it can be downloaded from IMSLP in a Russian edition. Here, these percussions are a part of a very lat)=rge orchetra (wwodwinds by 5, 8 horns, etc.). In 'Les Noces', this interest for percussive writing is expresed in a 'black and white" langauga, with 4 pianos and percussion (plus chorus, of course). This is a vary important score, which had in my opinion a large influence, for instance on Bartok's sonata for two pianos and percussions, Varese's Ionisation for perciussions soli, Dallapiccola"'s Canti di Prigionia, some of Boucourechliev's Archipels, and many others. By the way, take care to the words 'final period', which generally applies to his final serial style, which became again as inventive as in his first period, but in a quite different way. Listen to 'Canticum sacrum', 'Agon', 'Threni' (absolutely amazing), 'Abraham and >>Isaac', movements for piano and orchestra, Variations for orchestra,and the final 'Requiem canticles'.

[@aayyiss]

Absolutely a lovely perfomance , greetings from Greece .

[@benjamincuevaseninde]

-- L'ensemble est extra. --

[@ensembleinter]

Merci !

[@mikeklimczak9600]

Excellent performance.

[@boonrutsirirattanapan100]

Bravissimo! Love it!

[@CroChiMihn]

BRAVO!!

[@thomasrajna5695]

A fine ,robust performance, not rarefied as it appeared at first, but a full blooded entertainment with drive and gusto. Much of this is due to the spirited performers.

[@tjden777]

Tre bona koncertado kaj fantasta muziko

[@karimhabet6404]

Tres belle performance d'une oeuvre magnifique. Cette musique m'a toujours fascinée (tout comme l'oeuvre entière de Stravinsky) annonce t'elle la fin de sa 1ere periode et sa reinvention du Baroque? merveilleuse performance

[@gerardbegni2806]

C'est toiut à fait le cas, oui. Cela fait partie de rares partitions de transition: Noces, Renard, Histoire du Soldat, où tantôt l'un des aspects est plus marqué, et tantôt l'autre.

[@gerardocardenas6591]

On dirait que le pouvre Coq est mangé chaque nuit des innomrables fois, ce qui pourtant n´etaint pas le faim de Renard. Brillante performance!

[@TempodiPiano]

avec tout le confort moderne

[@FRyuu566]

14:40

[@gepmrk]

@ 1:06 'oops wrong instrument'.

[@jacquesvaissier1996]

Ça manque parfois un peu de tonus et de rapidité. Mais oui, dans l'ensemble, c'est bien. Seule "la renarde" a une prononciation acceptable du russe.

[@새우-g5u]

0:23

[@michaelcosta6333]

👊🏼👊🏼👊🏼👊🏼👊🏼👊🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼

[@zoelafleur5938]

un peu lourdes les voix de certains