Stefano Scodanibbio - RIP
Tue, Jan 10 2012, 6:18PM
I was very sad to hear of the death of Alexis Wissenberg two days ago but the news about Stefano Scodanibbio touches a little deeper. He really was a special musician - I find his recording of Cage's "Dream" a beauty.
Wed, Jan 11 2012, 9:00PM
#2
RE: Stefano Scodanibbio - RIP
Parla
One of my most longstanding pleasures in listening to music has been how it allows me to take 'overgrown paths' where my curiosity rules. Music leads to musicians, musicians to music. An interest in Bruno Maderna (which came from a DG Sinopoli release - I really loved Sinopoli, much to the chagrin of many!) led me to Luigi Nono and then Nono led me to Scodanibbio.
Scodanibbio was himself a composer and his Mode recordings are marvels of concentration and sincere virtousity.
Thu, Jan 12 2012, 7:02AM
#3
RE: Stefano Scodanibbio - RIP
Yes, Naupilus, you are quite right. Musicians lead to Music and vice versa.
By the way, I am one of the (few or not) faithful fans of Sinopoli. He was a fascinating and great conductor (and a composer too).
I hope our double bass player can lead me to some of the compositions of caro Stefano.
Parla
Wed, Apr 11 2012, 10:58PM
#4
RE: Stefano Scodanibbio - RIP
Time has rumbled Sinopoli.
He was worse than first credited, even in opera where, even I, was fooled.
However, what did it for me was his atrocious performance, in London with a London based orchestra, of Elgar's 2nd. No wonder his musicians loathed him.
Wed, Apr 11 2012, 11:40PM
#5
RE: Stefano Scodanibbio - RIP
Time has rumbled Sinopoli.
He was worse than first credited, even in opera where, even I, was fooled.
However, what did it for me was his atrocious performance, in London with a London based orchestra, of Elgar's 2nd. No wonder his musicians loathed him.
I heard him several times and was never impressed. I recall a performance of Mahler's 2nd (or was it the 8th?) where I thought at the end 'Well that was quite pleasant' which says all you need to know really. Those recordings I have of his have been bought with the singers in mind rather than him.
Thu, Apr 12 2012, 10:51AM
#6
RE: Stefano Scodanibbio - RIP
Time has rumbled Sinopoli.
He was worse than first credited, even in opera where, even I, was fooled.
However, what did it for me was his atrocious performance, in London with a London based orchestra, of Elgar's 2nd. No wonder his musicians loathed him.
I heard him several times and was never impressed. I recall a performance of Mahler's 2nd (or was it the 8th?) where I thought at the end 'Well that was quite pleasant' which says all you need to know really. Those recordings I have of his have been bought with the singers in mind rather than him.
Same with me but he mauls the music so much.
Just one example: Manon Lescaut. Whatever persuaded him to treat the score this way?
Oh, and the forever overrated Bruckner 5th where I think he conducted from a faulty memory. Ghastly!
Now that's done it. I'll have posts suggesting I listen to this and that recording. But I probably have and if I haven't I have no further intention of being annoyed by this man.
Thu, Apr 12 2012, 12:55PM
#7
RE: Stefano Scodanibbio - RIP
I think Sinopoli was classed as a 'controversial' conductor.
When living in London at the time he took over the Philharmonia, I went to a couple of concerts - one of them the Bruckner 5th, which I thought ok, but when he released on DG the Schubert Unfinished coupled with the usual Mendelsohn Italian, I couldn't believe his reading of the Unfinished. It was oh so slow and every detail expressively heightened. Schubert's Unfinished needs urgency from the word go. Sinopoli's was like an Italian lyrical version of it.
My favourite version I have is Cantelli from way back with I think the Philharmonia again (double cd).
Naupilus I have that album too of Maderna by him - Aura and Quadrivium and all that. Now that's interesting.
Mark
Thu, Apr 12 2012, 1:29PM
#8
RE: Stefano Scodanibbio - RIP
Personally, I don't have a problem with Sinopoli the way some people do. I heard him conducting Carmen a few years ago in a concert performance, quite simply the best I've witnessed with all the classic virtues of a Beecham preserved. His studio recording was dreadful in comparison.
What to me testifies to Sinopoli's greatness is that he divides waters; some people don't like Karajan's (excessive) cultivating of the orchestral bloom, loathe Klemperer's tempi, can't stand Karl Richter's (over) reverential ways, Bernstein's general mannerisms, Solti's orgasmic music making, yet the recordings of say Karajan's Bruckner 8th, Klemperer's Matthew Passion, Richter's Bach cantatas and Bernstein's Enigma variations, Solti's Kodaly are unquestionably great - due to the fact that they have something to say with the music.
I think it was Schonberg who said words to the effect that "the middle-of-the road was the only way that didn't lead to Rome".
Thu, Apr 12 2012, 3:29PM
#9
RE: Stefano Scodanibbio - RIP
Sinopoli was a maverick conductor but an inspired one. Uneven but with some great moments that some of us (mostly musicians, composers, performers, etc.) feel compelled to appreciate him and his art.
Anyway, for performances we may accept some room for more daring interpretations. There is no "holy scripture" performance. We have witnessed through the years even the most respectable reviewers, critics, magazines change their views on players, conductors and performances.
Parla
Thu, Apr 12 2012, 11:47PM
#10
RE: Stefano Scodanibbio - RIP
Sinopoli was a maverick conductor but an inspired one. Uneven but with some great moments that some of us (mostly musicians, composers, performers, etc.) feel compelled to appreciate him and his art.
Anyway, for performances we may accept some room for more daring interpretations. There is no "holy scripture" performance. We have witnessed through the years even the most respectable reviewers, critics, magazines change their views on players, conductors and performances.
Parla
He was never a maverick or inspired just, simply, wrong, bad...
It was musicians that complained about him so much and critics were, almost, vitriolic towards him.
Only the Gramophone stood out from the baying crowd and tried to give him a fair hearing. Even now, whilst the rest of the world remains exasperated the Gramophone, I note, in the form of RO, praises him.
Me, I despair.
I know how much you like performances that ignore the score and veer away from the composer's intentions.
Thu, Apr 12 2012, 11:53PM
#11
RE: Stefano Scodanibbio - RIP
Personally, I don't have a problem with Sinopoli the way some people do. I heard him conducting Carmen a few years ago in a concert performance, quite simply the best I've witnessed with all the classic virtues of a Beecham preserved. His studio recording was dreadful in comparison.
What to me testifies to Sinopoli's greatness is that he divides waters; some people don't like Karajan's (excessive) cultivating of the orchestral bloom, loathe Klemperer's tempi, can't stand Karl Richter's (over) reverential ways, Bernstein's general mannerisms, Solti's orgasmic music making, yet the recordings of say Karajan's Bruckner 8th, Klemperer's Matthew Passion, Richter's Bach cantatas and Bernstein's Enigma variations, Solti's Kodaly are unquestionably great - due to the fact that they have something to say with the music.
I think it was Schonberg who said words to the effect that "the middle-of-the road was the only way that didn't lead to Rome".
Strange that you should defend the indefensible with the indefensible.
Solti bashed the music to bits, Klemperer's Passion is so wrong-headed when his tempi in Beethoven and others could be so convincing and carry you along, Richter was a kappelmeister, Bernsteins Enigma is great until Nimrod where one can but admire his orchestra's ability to play it at such a tempo.
The only area of agreement is Karajan's Bruckner 8th, the later DG recording, which is spot on, as Karajan frequently is in Bruckner.
I am, to a great extent, moved that a member of the forum is so mouch touched by the depart of a Double Bass player.
I have to admit I was not aware of his importance, since I detest most of the very modern and avant-garde music, but I was surprised at the sadness and sense of loss of the Double Bass player, who collaborates with our chamber ensemble, for the news about Scodanibbio. He explained to me Stefano's role as a player and composer and I was exposed to two recordings of works of Luigi Nono. Somehow, I was..."convinced".
By all means, the worst part is his untimely passing.
Thanks, Naupilus for renewing our awareness about another serious and devoted musician.
Parla