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Except for the Capriccio, in which the orchestra sounds subaquatic, the reproduction mono, of courseis remarkable, and Stravinsky's keyboard command and style are fully evident. But constriction always seemed to excite Stravinsky and, as this recording exists to remind us, his music often flowered best under restraints, not freedom. It is reassuring to hear in his piano playing direct reflection of his composing personality: here is an artist, plainly, who hates untidy thinking and messy displays of emotion.
There is kind of ascetic strength to it that is not much in fashion at the moment, but will prob. Hopping across three decades into the more confusing present, let's see what our brash contemporaries are up to.
The Foss and Schwartz pieces are built out of word and phrase fragments, in chance combinations and in tightly controlled patterns. The use of splintered words and phrases, as if they were abstract musical materials, in fact, is an idea that many composers are playing Steve Earle Robert Johnson Terraplane Blues, often seemingly with Giorgio Moroder American Gigolo Original Soundtrack Recording object but obfuscation but sometimes, as in Dieter.
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