Frankly, my dear, it's too pretty -- and while Stravinsky's Les Noces is many things, it's not pretty. It's belligerently uncompromising in its abrasive choral writing, it's aggressively brilliant in its glittering score for four pianos and percussion, and it's powerfully propulsive in its driving polyrhythms. But it's not pretty -- and this ...
It doesn't matter if you've heard Karl Böhm's incomplete but compelling recording of Berg's Lulu or Pierre Boulez' complete but not quite as compelling Lulu, you've got to hear Paul Daniels' complete and overwhelmingly compelling Lulu. Why? Because not only is it complete -- that is, not only does it include the two acts finished and orchestrated ...
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