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Discussion Starter · #1 ·
Been listening to a recording of this warhorse piece and I'm wondering what "definitive" recordings people can recommend and availability...

Ryan
 

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There is an old LP recording of Trent Kynaston on saxo and Muczynski at the piano. Also quite good.

Angel
 

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Discussion Starter · #4 ·
Thanks!--It's interesting how I "come back around" to old pieces and like them more than the first time...This is a nice little piece...I've never quite liked the Concerto interestingly enough...
 

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I think the definitive recording of this piece is Rousseau's. He makes it sound all so effortless.
 

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I'd also go with the Rousseau. Seems to me he plays it with a bit more finesse and refinement. I'd love to hear the LP with Kynaston, sounds pretty interesting.
 

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Discussion Starter · #7 ·
John Vana's version is really nice...the composer ranks the Vana version quite high...the interesting thing is...how different are these versions...do the players individuality come across in these recordings? I'll have to take a listen...For example, I just listened to Delangle's Ibert with orchestra...the new release...and the opening page was AMAZING! I've heard that piece a million times and Delangle manages to do some really unique things with phrasing, long vs short and use of vibrato...things that really make the Ibert fresh again!!!! And he takes all the altissimo up...in the true Rascherian tradition...something that has taken awhile for the French...Good to see they've moved past all that ideology and are embracing the other performance practices...makes for the best of all worlds if you ask me...

Ryan
 

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Nate94 said:
I'd also go with the Rousseau. Seems to me he plays it with a bit more finesse and refinement. I'd love to hear the LP with Kynaston, sounds pretty interesting.
Do you really want finesse in the Muczynski? I've always felt like the second movement should be played like a punch to the face, not a delicate romp. I have not heard Rousseau's recording of this piece, but I have heard Underwood's - don't care for his sound compared to Rousseau, but I did like his (Underwood's) musical decisions.
 

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I would argue that the term "finesse" is quite appropriate for this piece. In defense of my previous statement, I used the word finesse as in the skillful, careful handling of the musical situations that are presented in the music. Considering that the initial marking at the beginning of the first movement is "espressivo," which as I'm sure you know means expressively, and that there are many places in this piece where one must be very particular about the execution of the phrases (dynamics, rhythmic execution, etc.), I would say that finesse isn't such a bad term after all. One could then thumb through the pages to realize that in the second movement, the same espressivo marking is used only one time fewer than the marcato marking. Finesse doesn't always imply delicacy and grace. My apologies for the lack of clarity in my previous post.
 

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When I see Trent next, I'll ask if he has a "burned to CD copy" of his performance with Muczynski. I'm not sure he ever played it for me when I was working on it a couple of years ago.

If you want to give the piece a pseudo-authentic flair, there is a run in the 2nd movement ... I can't say which measure because the score is in my car ... but I believe it begins on middle C#, and at the end are the eighth notes of high C# and the A just below that. That entire run was initially composed up one octave, but at the time (early '70s) Trent had some trouble playing it that way and suggested the edit. He puts it in now when he performs it.

It was also going to be called "Desert Sketches" or something along those lines, because much of it was composed at Muczynski's house in the Arizona desert. The two decided it probably wouldn't sell as well with such a characteristic name.
 

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Discussion Starter · #13 ·
Very interesting! As for the Kynaston recording...Indiana State music library has it on cassette or LP can't remember....Very good music library...
 

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Ah yes that recording. I turned it into mp3 format on my computer last year when I was transferring a bunch of old LPs. That reminds me, I need to gather everything I can find at FSU that I don't yet have....
 

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thejoyofsax said:
It was also going to be called "Desert Sketches" or something along those lines, because much of it was composed at Muczynski's house in the Arizona desert. The two decided it probably wouldn't sell as well with such a characteristic name.
That is true - Muczynski conceived of the work as programmatic. The first movement is the desert at night and the second movement was supposed to be a predator chasing it's prey in the daytime. I still think the second movement should be "in your face."
 

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thejoyofsax said:
If you want to give the piece a pseudo-authentic flair, there is a run in the 2nd movement ... I can't say which measure because the score is in my car ... but I believe it begins on middle C#, and at the end are the eighth notes of high C# and the A just below that. That entire run was initially composed up one octave, but at the time (early '70s) Trent had some trouble playing it that way and suggested the edit. He puts it in now when he performs it.
I believe that run is in measures 64 and 65.
Going back to the original question. I agree that the Rousseau recording is the best. I also have a live recording of Otis Murphy that is very good as well.
 
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