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We continue this discography :
19 – VanBeinum – Concertgebouw – 1946 – Version 1921
We hear hardly the tones, it is slow, flat, the sleeve says that this recording was greeted like “an interpretation of an unusual balance and a recording really dazzling” ???… it is weightly, moreover not very clean; we’ve never beena great fan of this conductor in fact (except superb Brahms symphonies). 5
20 – Ansermet – Suisse romande – 1950
He was the closest conductor to Stravinsky, after Monteux and before Craft. The introduction begins well (a good sign: you can easily follow the score contrary to Beinum), but it becomes a little static at the end. The rhythm is well marked for the Dance of the young girls. One appreciates general clearness, all is not clean, sounds a little- “province-like”, the conductor and the recording balance favors treble register and one hardly hears the percussions; an almost neo-classic Rite! – 6
21 – Dorati – Mineapolis – 1953
A conductor known for ballet music (his famous Nut-cracker for example). One understands nothing at the beginning, it is rather loose, we miss animation. The Dance of the young girls hops – it is almost the fastest of the whole discography, the rest is about the same: virtuoso, but with a rather weak orchestra, and without much interest. 5.5
22 – Fricsay – RIAS Berlin – 1954 – Version 1947
Definitely, that starts badly, the entry theme is rather insipid and remote, no animation then; the sound recording gives the impression to be carried out outside a railway station… that misses of all: life, rhythm… 5,5
23 – Albert – Orchestra of Cento soli – 1956.
Unknown in the discography (except for the old French music lovers who subscribed at the “international Guild of the disc”). Let us recall that Rudolf Albert directed the creation of the Oiseaux exotiques by Olivier Messiaen. The initial theme is already more interesting, it is animated and alive. One finds then animation, the Dance of the young girls is superbly done. One is struck by the control of musical flow, in the Spring rounds for example. The 2nd part confirms: dreamlike passages in the introduction for example, obviousness of the mysterious Circles of the young girls. The most modern version and the best chronologically since Monteux – 1951 and what an orchestra! – of circumstance, supposed to bring together the best French instrumentalists of the time. Excellent sound recording for 1956, with dynamics and tones. 8
24 – Monteux – Société des concerts du Conservatoire – 1956
Here again the creator with this famous orchestra in its best years, with its little acidulous sound. The tempi are nearly identical to his version with Boston – 1951, just slightly slower; one finds qualities of clearness and weighting of the Boston version, but it is a little more “catch” and confines with the routine. Beautiful moments, but that misses animation. 7
25 – Ansermet – Suisse romande – 1957
Here again Ansermet only 7 years after his 1st version with the same orchestra… Broadly in exactly same the tempi. Still an introduction rather slack, not very well organized. Sound balance is better than in 1950, with some exaggerations for some secondary parts. Quite beautiful Spring rounds but the whole misses animation. A beautiful version, attaching, even if the orchestra is sometimes a little fragile. 7
26 – Dorati – Mineapolis – 1959 Version 1947
Here again Dorati with the same orchestra. The author of the Universal note qualifies it frankly “impressing”. An introduction which passes without notice, Dances still hopping. Sound recording most present chronologically speaking, more percussions (version 1947). Much animation at the end of the 1st part (the Dance of the Earth is the fastest). Beautiful introduction of II, Glorification of the chosen well done, even if it misses a little of sound impact. 7
27 – Karajan – Berlin – 1963
It is interesting to reproduce here the comments of Stravinsky on this interpretation (he apparently did, like here, many hearings of discographics versions of his work, that undoubtedly enabled him to disparage conductors whereas he was himself a poor conductor… and one can suppose that he disliked versions which escaped the copyright… you get it: there are sympathetic musical geniuses, others less): “The recording is overall good, overall strange interpretation, although it is organized with its manner; in fact, it is organized too much, like a savage tamed compared to a true one. One of the principal faults is due to the style sostenuto: the length of the notes is here almost what it would be in of the Wagner or Brahms, which saps the energy of the music and gives the impression that the rhythmic little of articulation still detectable A something of forced. But I should have started by saying that this music is foreign with the culture of its interpreters […] I doubt that the Sacre can be carried out in a satisfactory way according to Herr von Karajan’s traditions. I do not want however to say by there that it is not in its element, but rather than it makes only briefly address what I wrote […] There is no place for introspection in the Rite of Spring.
How is it (it is known already that its remake will be of another level)? The introduction is superb, the notes are indeed clearly held. There are some curious sequences, in the Dance of the teenagers; certain parts seem molten in the sound mass. In the whole reading, which appears me to arise, is the need for the conductor for finding a “Hauptstimme”, a direct voice, at the expense of the polyphony. Curiously, all is not instrumentally perfect, as often the case in Berlin, as opposed to what one can think… Beautiful things in the intro of II, but the whole is a little mollycoddled, in spite of a beautiful general atmosphere; one will note moreover the will of the instrumentalists and the chief to sound elegant and not rude. – 6,5
28 – Davis – London symphony – 1963
The intro of I is rather weak, one does not hear the tones, one would say this is a Rite for puppets… It is rather ridiculous, same for the followings parts in a generalized insipidness, the most lamentable version up to now, even if there is an improvement towards the end – How one could let publish that? – We listened until the end not by pure masochism, but because that becomes funny: rather on Arthur & Sullivan side … (we have nothing against this chief recently deceased, who succeeded to Kubelík in Munich). 4
30 – Mehta – Los Angeles – 1969
Stravinsky had indicated that there were faults of rhythm, but that it was nevertheless not bad… (we do not know what he thought of the Ozawa version).
The topic of the intro is rather external. Very beautiful sound recording, it becomes animated, then falls down, it is indeed a little wobbly and one does not hear enough the strings; Dance of teenagers, rapid, makes “knock knees a little”, in the spirit of the creation! There is then the impression to hear within the same piece different segments, with very beautiful achievements, but the whole gives the impression “to be made”. Superb Spring rounds. Plays of the rival cities also has pace, the end of II misses dynamics curiously. 7
31 – Tilson Thomas – Boston – 1972
A rather placid introduction; the rest is hardly more animated in spite of a mixing which emphasizes certain desks per moment. All is made with great care, with a very beautiful sound contour; there is a little more dynamics in Spring rounds. We will keep it for its orchestral quality. 7,5
32 – Haitink – London philharmonic – 1973
It is even clearer than the preceding one, with amazing details up to now. It is then spoiled with a little remote sound recording; that does not miss of interest but of outlines. 6,5
33 – Leinsdorf – London philharmonic – 1973
The same orchestra, the same year, but recorded in famous Kingsway hall… The orchestra is even more detailed, one hears even more things, while getting sometimes almost ridiculous (Play of the abduction). But it is very animated contrary to Haitink; as at this last, Plays of the rival cities disappoint. But a superb Sage follows. A very beautiful introduction of II, at the same time superbly detailed and built, perhaps the most “ravélienne” version finally. 7.5
34 – Maazel – Vienna – 1975
A certain spirit, but nothing really determinant. It is treated into large masses. Width, “big orchestra”. Beautiful things, with some quite curious decelerations, but that’s’ all. 7
35 – Solti – Chicago – 1975
With Solti, no problem, it is virile, square, rhythmic, sharp-edged, but always a little simplistic at the same time. It is a little like the standard version that everyone has in the head; from there perhaps its attaching side? 7,5
36 – Abbado – London symphony – 1975
The beginning is quite external, getting even a little confused wanting to make possible to hear all part; it gets even boring, it makes me think of the Bolero. Honest. 6
37 – Davis – Concertgebouw – 1975
This time the introduction is in a generalized apathy… but this makes it possible to hear more things than usual; the 2 is very placid, it is not Arthur and Sullivan any more, but rather Delius… Sumptuous orchestra (percussions…), superb sound recording, but well…. 6
38 – Karajan – Berlin – 1977
The introduction is splendid, much of poetry, interior tension; the rest will be of the same kind: very linear in the sense we have the impression to follow a history, the whole to the detriment of a more primary brutality than one can wait in this work. It will be noted that it is curious that this recording was carried out in several meetings within months of interval! The plastic of the orchestra can be admired here; moreover, the preceeding versions which seek to emphasize secondary lines give generally an odd sound. Sound recording is very “worked”: the breath and the noises of keys of the winds are distinctly heard. After a magic n° 10, a superb n°11, same with the following parts. Stravinsky would not have appreciated more this interpretation than the 1st one… In any case the most beautiful “image” of orchestra up to now. The end is striking. 8,5
39 – Rattle -National Youth orchestra of Great Britain – 1978
A real orchestra of young people (between 13 and 19 years). The conductor is a 20-year-old former member. It is rather remarkable that they managed to produce this, but it is sometimes weak instrumentally. 6
40 – Ozawa – Boston – 1979
Here is again our champion up to now, with Boston instead of Chicago. We shall note that the total time differs only of one minute between the two recordings realized in 11 years of distance…
Elaborate sound recording, we are obviously more civilized in Boston than in Chicago, but we sometimes find the commitment of the 1th version (our favorite American orchestras are Chicago and New York, then Boston, Philadelphia, then behind Cleveland). But it is a very alive reading. 8
41 – Dorati – Detroit – on 1981
After Minneapolis 1953, then 1959, here is again Dorati in Detroit in 1981 (75 year-old).
It begins rather badly, it is not very well kept, n°2 comes better, very dancing. The rest gives an honest, a « traditional » version. 7
42 – Bernstein – Israel – 1982
The slowest version. Nothing much occurs in the introduction, 2 is rather apathetic. The sound recording has no dynamics, the orchestra sounds rather ‘provincial’, the nothingness. 4
43 – Dutoit – Montreal – 1984
Very nice introduction, beautiful tones. A very natural sound for a change. The reading is « natural » too, elegant. We have heard more dynamic lectures, but there is a lovely atmosphere and it is very well kept until the end. Beautiful version – 7.5
44 – Chailly – Cleveland – 1985
An intro a bit messy, it’s quite ‘manly’, a little stressed, nervous but without taking the listener, it’s a bit harsh. 7
45 – Boulez – Cleveland – 1991
It is tasteful, we think of his famous Petrushka in New York, the accuracy and correctness of the rhythm pays in the long run, but there are tunnels (12) and sound lacks of presence, the end is placid. 6.5
46 – Solti – Concertgebouw – 1991
17 years after Solti / Chicago which convinced us. Barely audible intro, flat sound, lack of accents. 5.5
47 – Levine – MET – 1992
Very nice intro, slow. It is generally slow but powerful, very well kept rhythmically, beautiful atmospheres. 8
48 – Karajan – Berlin – Live – 1978
We had forgotten that we had this live recording – from an unlikely publisher – which impressed us at the time (how did they get these tapes since there are so few « pirates » of Karajan symphonist). It is very lively, some balance problems considering the remarkable clarity of the sound (in Lucerne). Spring Rounds are in a very moderate tempo, a superb drama. You can find everything a little stressed, but I will have to select it, even though the very end was a little disappointing. 7.5
49 – Ashkenazy – Deutsche Symphonie-Orchestrer Berlin – 1994
A slow intro with end of phrases not very clean, instruments give the impression to do their part without worrying too much about the rest. The sound is distant at times (or maybe is not there too much sound?). You can fell the bars and it is at the same time yearning! Even No. 12, with a lot of timpani, is static! Brief. 5
50 – Bychkov – Orchestre de Paris – 1995
It’s like the fog at first, it is confusing. No. 2 is barely animated, the sound does not help. The conductor should need to lead his band towards an interpretive project. The last number is significant in this respect: it is flat and it seems everybody expect the next episode … sometimes like a sight reading. 4
51 – Haitink – Berlin – 1995
We had quite liked the 1973 version, how is it 22 years later?
Whew, here is a conductor at least, very nice introduction, after it gets a little decorative. No. 2 is pretty standard, 3 is more animated (great orchestra), later instrumental virtuosity (brass chorus!) makes wonders. 7.5
52 – Gergiev – Mariinsky Theatre Orchestra – 1999
A sound recording not so natural, a lot of orchestra noises, notes very present, atmosphere, rhythmically decided. 2: it gives the impressions of a demiurge conductor, it makes me think of the Sorcerer’s Apprentice from Disney by Stokowski. This is ruffling, we could blame him as much as the German music side with Karajan, his music Russian side of the 20th century (Prokofiev). I’ve never seen him conducting in concert, but I feel thathe is a leader who conducts « on the beat. » Even in slow passages (very nice atmosphere in the Introduction II), it sounds like a permanent race inducing fatigue and doesn’t really pay homage to the score. But the hyper-virtuosity of the chef and his orchestra fascinates. 8
53 – Myung-Whun Chung – Orchestre Philharmonique de Radio-France – 2007
We note in passing the relatively low representation of French orchestras in this discography overview. It’s fast, nervous in a bad sense or decorative. I never had any chemistry with this conductor – I remember such a pretty disastrous Schubert Mass at the Festival of Saint-Denis. Let us recall, that like other conductors in this survey, they are huge artists, but with him the current does not pass. Very nice performance of the orchestra and this are getting much better in 4, 6 is superb. The intro II is correct, but you get bored rather quickly. 7
54 – Gustavo Dudamel – Simon Bolivar Orchestra of Venezuela – 2010
The latest version of this confrontation. The first theme starts badly, it’s full of effects, he is the only one to do this, but we feel that there will be the « swing ». It is a conducting with effects, breaking up the score – frequent changes of tempo, it makes me think of Gergiev: we do it and move on to something else soon. But the end of 2 and 3 are impressive – the fruitful sounds of woos. 4 is very well controlled. – It seems to be quite far from Monteux 1951, version I credited of an 8 … Too bad the intro II is less mastered and there are generally too many effects, but he is an exciting conductor in his wild appearance without complex and bravo to the orchestra of Venezuela! 7.5
Here ends the first confrontation that allowed us to select 10 versions which seemed the most satisfying and yet we lack a lot (Markevitch, Ancerl, Rattle Berlin, etc.). These are obviously personal impressions. Note we miss Furt, Walter Toscanini, Mengelberg, Klemperer, but they did not did it! The next step – unplanned – will be to compare in detail the 10 selected versions (those of rank 4 are not bad either)…
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