Stravinsky: Le sacre du printemps; Pétrouchka [Original recording remastered]

Editorial Reviews
Amazon.com
The amount of sheer history present in this release threatens to overwhelm its musical value. Monteux conducted the world premieres of both of these works, and these recordings commemorate returns to the orchestra he had directed just after the First World War. Petruschka, in sparkling 1959 stereo, lacks the violence and visionary character heard in some of the best performances (like Stokowski/Philadelphia). But its clarity and musical impulse are really treasurable, and combined with the playing of the great orchestra they make for a memorable version even though it leaves some things unsaid. The Rite of Spring is 1951 mono, but the clarity of the recording and its impact hold up surprisingly well. If you want sheer viciousness (a worthwhile quality in this music) look for the deleted Dorati/Minneapolis Mercury CD. For a performance that treats this piece for its musical values, Monteux is extremely gratifying. It's difficult to believe the legend that the conductor didn't like this music! RCA's new remastering is marginally clearer than the previous RCA Gold Seal addition, and the price is right. --Leslie Gerber

Tracks:

Petrouchka: Scene I - The Shrovetide Fair - Vivace - Boston Symphony Orchestra
The Magic Trick - Boston Symphony Orchestra
Russian Dance - Boston Symphony Orchestra
Scene II - Petrouchka's Cell - Boston Symphony Orchestra
Scene III - The Moor's Cell - L'istesso tempo - Boston Symphony Orchestra
Dance Of The Ballerina - Boston Symphony Orchestra
Waltz - Boston Symphony Orchestra
Scene IV - The Fair - Toward Evening - Tempo Giusto - Boston Symphony Orchestra
Wet Nurses' Dance - Boston Symphony Orchestra
Peasant With Bear - Boston Symphony Orchestra
Gypsies And A Rake Vendor - Boston Symphony Orchestra
Dance Of The Coachmen - Boston Symphony Orchestra
Masqueraders - Boston Symphony Orchestra
The Scuffle -Moor And Petrouchka- - Boston Symphony Orchestra
Death Of Petrouchka - Boston Symphony Orchestra
Appearance Of Petrouchka's Ghost - Boston Symphony Orchestra
The Rite Of Spring: The Rite Of Spring -- Part I - The Adoration Of The Earth - Introduction - Seiji Ozawa
The Rite Of Spring: Harbingers of Spring - Seiji Ozawa
The Rite Of Spring: Mock Abduction - Seiji Ozawa
The Rite Of Spring: Spring Khorovod - Seiji Ozawa
The Rite Of Spring: Games Of The Rival Tribes - Seiji Ozawa
The Rite Of Spring: Procession Of The Wise Elder - Seiji Ozawa
The Rite Of Spring: Adoration Of the Earth ; Dance Of The Earth - Seiji Ozawa
The Rite Of Spring: Part II - The Sacrifice - Introduction - Seiji Ozawa
The Rite Of Spring: Mystic Circles Of The Young Girls - Seiji Ozawa
Glorification Of The Chosen Victim - Seiji Ozawa
The Rite Of Spring: Summoning Of The Ancestors - Seiji Ozawa
The Rite Of Spring: Ritual Of The Ancestors - Seiji Ozawa
The Rite Of Spring: Sacrificial Dance - Seiji Ozawa
Fireworks: Fireworks, Op. 4 -Fantasy For Orchestra - Seiji Ozawa

Amazon.com

The Boston Symphony was at the peak of its powers when it engaged the 34-year-old Seiji Ozawa for this 1969 recording of Petrushka, in which the orchestra's then 24-year-old assistant conductor, Michael Tilson Thomas, played the extensive solo piano part. Ozawa, in those years, was capable of striking sparks with any orchestra he faced, and there is a palpable sense of excitement to the Petrushka he uncorks here. The accounts of The Rite of Spring and Fireworks, recorded in 1968 with the Chicago Symphony, are equally dynamic and colorful. BMG's long-awaited 24/96 remastering unleashes the breathtakingly open sound of the original tapes for the first time on CD, and may require a volume cut to preserve peace with the neighbors. --Ted Libbey

Customer Reviews:

An Odd Release But A Bargain Price for Excellent Performances.......2006-01-14

One wonders why this pairing of Seiji Ozawa and the Chicago Symphony Orchestra with Michael Tilson Thomas and the Boston Symphony Orchestra all under the spell of Stravinsky was issued. Not that the performances individually need reinforcement because they don't. Perhaps it is the long relationship between Tilson Thomas and Ozawa or their similar approaches to this repertoire that was the driver. Whatever the reason, here are recordings that are a treat.

Tilson Thomas elects the 1947 version of Petrushka and offers a clear-headed, rhythmically sound, exciting performance. The warm Boston sound is intact and enhances his overall mood of the work. Ozawa and the Chicago forces give an all stops out performance of 'Le Sacre du printemps', a performance that is about as visceral and pagan as any on record. And the bonus of the brief but effective 'Feu D'artifice' fantasy is given a robust reading.

There are many recordings of 'Le Sacre du printemps' in the recorded repertoire: obviously every conductor wants to imprint his mark on this masterpiece. The sonics are all-important when the work is recorded and in the case of this recording the sonics are excellent. But there may soon be a startling surprise for lovers of this mighty, historically important music. This week Esa-Pekka Salonen gave a resplendent, detailed, emotionally charged performance that was recorded live by DGG in the Disney Hall. And if the technicians are able to cope with the amazingly live clarity of the acoustics of this grand architectural triumph, the recording may be the gold standard immediately upon release. Salonen has previously and successfully recorded the work with the Philharmonia Orchestra in 1990. The growth in stature in the intervening years has never been more obvious that this current state of Salonen's Stravinsky. Watch for it! Grady Harp, January 06

Great reading of these 2 works.......2005-12-07

Both the Rite of Spring and Petrouska are very well rendered in this recording... Ozawa's reading is insightful and very clear... The recording quality is great... Highly recommend this recording...

Best or not, you'll really love this Rite of Spring.......2004-06-29

Being among my top favorite pieces in the 20th century (after all, this piece turned the view of classical music upside down), I have tested myself listening to various versions by different performers. As far as much as I listened, my top two will have to be Leonard Bernstein with the New York Philharmonic (the most brashing, bashin, mind-crushin'!!!) and this equally thrilling performance with Ozawa leading the Boston Symphony Orchestra.

Officially, this is a major highlight throughout Ozawa's conducting legacy, still a very young man with seemly imperishable vigor and force very equilavent to his teacher Lenny. The Boston Symphony is an excellent orchestra to work with (the woodwinds and brass especially); otherwize the Chicago Symphony could have been the only other choice.

In my perspective, I had to admit that, just by focusing on the level of being barbaric and noxious, it slightly lacks that to Lenny, but on the other hand, it's brilliant controlled nail-biting high tempo can cover that.

Definitely worth buying!!! GO FOR IT!!!!!

Totally convincing.......2004-06-16

I have three recordings of "The Rite of Spring". I've known it in every detail since 1972 when I was 17 and I know the score inside out. This is the only performance (recorded or live) that I've ever heard that raised the hairs on the back of my neck, made me grip the seat and break out into a cold sweat, and ultimately made me understand what "The Rite" is all about. The recording does full justice to the performance. This is a "must have" for anyone who wants to understand the point of the work.

The best Rite of Spring.......2004-03-28

Ozawa's account of Stravinsky's most famous ballet is nothing short of astounding. The conductor has the Chicago Symphony playing with total attention. What is so amazing about this recording is that the orchestra is completely controlled and balanced. Although one may prefer a more spontaneous sounding Rite, one would be hard pressed to find a recording with more energy, polish, and power.

Ozawa's Petrouchka (with Michael Tilson Thomas at the piano) is equally amazing. The beauty of phrasing and emotion Ozawa instills into the players of the Boston Symphony orchestra is chilling. Indeed, when this recording was made, Ozawa had just taken the reigns or the orchestra (however, over the years, his energy and intensity has lessened) and they play for their new music director with total conviction.

Fireworks, a short symphonic sketch by the young Stravinsky, shows the influences of his teachers, especially Paul Dukas in the orchestration. Although not a seminal work, the opus 4 is delightful.

Tracks:

Petrushka - Tableau I: The Shrove -Tide Fair: Beginning
Petrushka - Tableau I: The Shrove-Tide Fair: The Crowds
Petrushka - Tableau I: The Shrove-Tide Fair: The Charlatan's Booth
Petrushka - Tableau I: The Shrove-Tide Fair: Russian Dance
Petrushka: Tableau II: Petrushka's Room
Petrushka - Tableau III: The Moor's Room: Beginning
Petrushka - Tableau III: The Moor's Room: Dance Of The Ballerina
Petrushka - Tableau III: The Moor's Room: Waltz (Ballerina and Moor)
Petrushka - Tableau IV: The Shrove - Tide Fair (Near Evening): Beginning
Petrushka - Tableau IV: The Shrove - Tide Fair (Near Evening): Dance Of The Nursemaids
Petrushka - Tableau IV: The Shrove-Tide Fair (Near Evening): Dance Of The Peasant And The Bear
Petrushka - Tableau IV: The Shrove-Tide Fair (Near Evening): Petrushka - Dance Of The Gypsy Girls
Petrushka - Tableau IV: The Shrove -Tide Fair (Near Evening): Dance Of The Coachmen and Grooms
Petrushka - Tableau IV: The Shrove - Tide Fair (Near Evening): The Masqueraders
Petrushka - Tableau IV: The Shrove-Tide Fair (Near Evening): Conclusion (Petrushka's Death)
Le Sacre Du Printemps - The Rite Of Spring - Part I: The Adoration Of The Earth: Introduction
Le Sacre Du Printemps - The Rite Of Spring - Part I. The Adoration Of the Earth: Dances of the Young Girls
Le Sacre Du Printemps - The Rite Of Spring - Part I: The Adoration Of The Earth: Mock Abduction
Le Sacre Du Printemps - The Rite Of Spring - Part I: The Adoration Of The Earth: Spring Round Dance
Le Sacre Du Printemps - The Rite Of Spring - Part I: The Adoration Of The Earth: Games of the Rival Tribes
Le Sacre Du Printemps - The Rite Of Spring - Part I: The Adoration Of The Earth: Procession Of The Wise Elder
Le Sacre Du Printemps - The Rite Of Spring: Adoration Of The Earth (The Wise Elder)
Le Sacre Du Printemps - The Rite Of Spring - Part I: The Adoration Of The Earth: Dance Of The Earth
Le Sacre Du Printemps -The Rite Of Spring - Part II: The Sacrifice: Introduction
Le Sacre Du Printemps - The Rite Of Spring - Part II: The Sacrifice: Mystical Circles Of The Young Girls
Le Sacre Du Printemps - The Rite Of Spring _ Part II: The Sacrifice: Glorification Of The Chosen Victim
Le Sacre Du Printemps - The Rite Of Spring - Part II: The Sacrifice: Summoning Of The Ancients
Le Sacre Du Printemps - The Rite Of Spring - Part II: The Sacrifice: Ritual Of The Ancients
Le Sacre Du Printemps - The Rite Of Spring - Part II: The Sacrifice: Sacrificial Dance

Amazon.com

Whatever the limitations of Stravinsky's baton technique, no one else on disc conjures the same bustling excitement at the outset of Petrouchka. Overlapping, polyrhythmic textures in Petrouchka and in Le Sacre du Printemps come off with Mozartian lucidity, Mendelssonian lightness, and, well, Stravinsky-esque rhythmic exactitude (notwithstanding a few hesitant entrances). The clarity partly stems from the composer's use of his leaner revised scores, helped by close-up, analytical mike work by CBS. There are, of course, slicker, more sonically opulent versions of these 20th century landmarks. And then there are Stravinsky's. --Jed Distler

Customer Reviews:

Najinsky who?!.......2007-03-09

Nobody does Mr. S like Mr. S. These albums that came out on Columbia are still the ultimate. Why would anyone else bother to try to match the master? This guy was a freaking genius, for goodness sake. You other guys get a life.

Hermann and Stravinsky.......2006-10-10

I hadn't listened to Le Sacre du Printemps in a couple of decades. This recording was like hearing it for the first time.

With nothing to add to the other reviews, I just want to note that when I got to "Harbingers of Spring (Dances of the Young Girls and Boys)," I was struck by the similarity between parts of it and Bernard Hermann's soundtrack for Psycho. One more example of how mid-century US film and and television scoring was influenced by late-19th and early 20th century composers (listen to Debussy's Images in this context).

Powerful rendition.......2004-10-08

This version of the Rite of Spring, is quite simply one of the best versions out there. Stravinsky summons the raw, primitive power, and emotional intensity of this work, and gives it a fresh, almost light touch, very different from other versions of this work. The Petruska is also very good, but Stravinsky tends to take everything at a slightly too quick pace.
(Note for Robert Lewis: very few people interested in classical music would be ignorant enough to attempt to nap to the Rite of Spring, one of the most violent works ever written.)

From the Master.......2004-03-29

I had the great good fortune to attend a concert of Stravinsky's music partially conducted by Stravinsky himself in Beverly Hills, CA. I don't remember the exact year, but it would have been in the late '60s. In other words, just a few years before his passing.
He shared conducting duties with his long-time associate, Robert Craft.

Because of his obvious age and frailty, it was expected he would sort of ceremoniously conduct one or perhaps two of his shorter works, leaving the bulk of the concert to Craft. Imagine my, and the audience's astonishment when we saw in the program that Maestro Stravinsky would be the conductor for several works, culminating in the concluding work on the program, "Le Sacre du printemps".

When the time came for "Le Sacre", the maestro, assisted and with some difficulty, made his way to the podium, at which he, not surprisingly, sat. He gazed at the score for a long moment. Slowly, his gaze rose from the score to his orchestra, which he observed for a few seconds, which seemed like hours. The audience grew silent with expectation. Slowly, deliberately, he raised his baton. And it began. What followed for the next 30 plus minutes was one of the most electrifying, galvanizing, and thrilling performances of anything I have ever seen or heard in my life, before or since.

After the concert I made it a point to chat with several friends of mine who were in the orchetra. I suggested that the orchestra must have been well prepared by Robert Craft so that Maestro Stravinsky would be better able to conserve his energy. To a man (and woman) they assured me that absolutely the opposite was the case. The portions of the concert, including "Le Sacre" that Stravinsky was to conduct were rehearsed, in total, by Stravinsky himself. In addition, Stravinsky attended the rehearsals for the balance of the program and had no problem contributing whatever he felt was necessary to the procedings. They also found him to be extremely alert and utterly charming.

How can I recommend anyone else's performance of "Le Sacre du printemps"? There is only one, and this is it.

WOW!.......2004-03-01

I would like to inform "Mr. Robert Lewis" that when writing a review for a classical album you must critique the performance on just that: the performance, not the music itself; the interpretation of the music.

Tracks:

Le Sacre Du Printemps
Le Roi Des Etoiles - Cantata For Choir & Orchestra
Petrushka

Album Details

Collection Du Millenaire.

Customer Reviews:

I completely agree with the David Camphor.......2007-04-05

It is almost 1:00 AM and I am downloading to iTunes my own LP-to-CD recording of this GREAT performance of the Rite of Spring and Zvezdoliki ("King of the Stars") and I decided, once again, to see if it had been released on CD yet. To my great delight, it is now out and available. In my limited survey, no other performance of Le Sacre measured up to this great one with Tilson Thomas. My collection includes Valery Gergiev, Pierre Boulez, Simon Rattle, Antal Dorati, and Charles Dutoit -- all acquired in a futile attempt to find a substitute for this performance. I'm so pleased this is now available.

Bravo!!! MTT/BSO & DG.......2007-01-23

I have this recording on tape and vinyl. I was forever looking for it on CD. It did appear briefly in the digital format, but soon went OOP. So Bravo to DG to reissue this gem. Definitely a Collection Du Millenaire! The star of this offering is the MTT/BSO Rite of Spring. MTT was 27 when he recorded this. If you have Stravinsky's own effort from 1962 with the Columbia Symphony, take a listen. See how close MTT comes to how the great man would have wanted his score rendered. MTT had worked with Stravinsky in LA before his move to BSO at the age of 24. So he knew the composer and it would seem had a sound understanding of this most complex orchestral score. A Rite in wrong hands is often a disaster, but this one? WOW!!! It was recorded in 1972, a year after Stravinsky's death. Perhaps, a personal tribute from MTT? It surely would have made Stravinsky proud. The conducting is superb, the playing electrifying and the capture by DG engineers is fantastic. This formidable performance pulls you right into the music and the savage sacrificial tale. You cannot press stop till the final note. Like Tchaikovsky's 1st symphony performance from MTT/BSO this Rite is another gem from the same era. Mr. Hurwitz & Co. take note! This is a 10/10 reference performance! BRAVO!!! MTT/BSO & DG.

Pierre Boulez Edition - Stravinsky: Rite Of Spring, Petrouchka / New York PO, Cleveland Orchestra

Average customer rating:

Great sound and performances from a 20th-21st century conductor/composer of another 20th century composer
Exceptional Performances
So you want to start listening to classical music....
Unbeatable value, but only one of many
Get this! :)

Pierre Boulez Edition - Stravinsky: Rite Of Spring, Petrouchka / New York PO, Cleveland Orchestra

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002A2M
Release Date: 1995-01-24

Tracks:

Petrushka: Bulesque In Four Scenes: Fete populaire de la Semaine Grasse - The Shrove-Tide Fair - Jahrmarkt in der Fastnachtswoche
Petrushka: Bulesque In Four Scenes: La Baraque du Charlaten - The Charlatan's Booth - Die Bude des Gauklers
Petrushka: Bulesque In Four Scenes: Dance russe - Russian Dance - Russischer Tanz
Petrushka: Bulesque In Four Scenes: Petrushka's Room - Chez Petrouchka - Petrushka's Room - Bei Petruschka
Petrushka: Bulesque In Four Scenes: Chez le Maure - The Moor's Room - Bei dem Mohren
Petrushka: Bulesque In Four Scenes: Dance de la Ballerine - Dance Of The Ballerina - Tanz der Ballerina
Petrushka: Bulesque In Four Scenes: Valse - La Ballerine et le Maure - Waltz - The Ballerina And The Moor - Walzer - Die Ballerina und der Mohr
Petrushka: Bulesque In Four Scenes: Fete populaire de la Semaine Grasse (vers le soir ) - Dance des Nounous - The Shrove - tide Fair (towards evening) - Dance Of The Wet-Nurses - Jahrmarkt in der Fastnachtswoche (gegen Abend) - Tanz der Ammen
Petrushka: Bulesque In Four Scenes: L' Ours et un paysan - The Bear And The Peasant - Der Bar und ein Bauer
Petrushka: Bulesque In Four Scenes: Un Marchand fetard avec deux Tziganes - The Jovial Merhant With Two Gypsy Girls - Der genubsuchtige Kaufmann mit zwei Zigeunerinnen
Petrushka: Bulesque In Four Scenes: Dance des cochers et des palefreniers - Dance Of The Coachmen And Grooms - Tanz der Kutscher und Stallknechte
Petrushka: Bulesque In Four Scenes: Les Deguises - The Masqueraders - Die Maskierten
Petrushka: Bulesque In Four Scenes: La Rixe: Le Maure et Petrouchka - The Fight: The Moor And Petrushka - Der Kampf : Der Mohr und Petruschka
Petrushka: Bulesque In Four Scenes: Mort de Petrouchka - Death Of Petrushka - Petruschkas Tod
Petrushka: Bulesque In Four Scenes: La Police et le Charlaten - Apparition du double de Petrouchka - The Police And The Charlaten - Apparition Of Petrushka's Double - Die Polizei und der Gaukler - Erscheinung von Petrushkas Geist
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Introduction - Lento
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Les Augures printaniers (Danses des adolescentes) - The Augurs Of Spring (Dance Of The Young Girls) - Vorboten des Fruhlings (Tanze der jungen Madchen)
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Jeu du rapt - Mock Abduction - Spiel der Entfuhrung
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Rondes printanieres - Spring Round Dances - Fruhlingsreigen
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Jeux des cites rivales - Games Of The Rival Tribes - Spiel der feindlichen Stamme
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Cortege du Sage - Procession Of The Wise Elder - Prozession des weisen Alten
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Adoration de la terre (Le Sage) - Adoration Of The Earth (The Wise Elder) - Anbetung der Erde (Der wiese Alte)
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Dance de la terre - Dance Of The Earth -Tanz der Erde
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Introduction - Largo
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Cercles mysterieux des adolescentes - Mystical Circles Of The Young Girls - Geheimnisvolle Krise der jungen Madchen
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Glorification de l' Elue - Glorification Of The Chosen Victim - Verherrlichung der Auserwahlten
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Evocation des ancetres - Summoning Of The Ancestors - Anrufung der Ahnen
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Action rituelle des ancetres - Ritual Of The Ancestors - Weihevolle Handlung der Ahnen
The Rite Of Spring: Scenes Of Pagan Russia In Two Parts: Dance sacrale (L' Elue ) - Sacrificial Dance (The Chosen Victim) - Opfertanz (Die Auserwahlte)

Amazon.com essential recording

With the New York Philharmonic on its best behavior, Pierre Boulez uncorks a reading of Petrushka that is vibrant, energetic, and full-voiced, with razor-sharp rhythm and ensemble. The solos, played by the likes of Julius Baker (flute) and Paul Jacobs (piano), have never been more effectively done. The recording, with the sizzling sonics typical of CBS's multitrack heyday, offers an X-ray of the score; the remastering is excellent. Pierre Boulez's interpretation of The Rite of Spring is perhaps more French than Russian, but it's impressive nonetheless. While it emphasizes structure, clarity, and texture over raw energy and visceral excitement, and always keeps something in reserve, it is tellingly potent in the "Glorification of the Chosen One" and the "Sacrificial Dance." In this account Boulez and the Cleveland Orchestra established a new standard for ensemble, virtuosity, and idiomatic execution of the music, and their recording remains one of the great achievements of the stereo era. --Ted Libbey

Customer Reviews:

Great sound and performances from a 20th-21st century conductor/composer of another 20th century composer.......2005-09-19

Pierre Boulez leads brilliant, blistering performances of 2 of Stravinsky's famous ballets, "Petrouchka" (1911) and "The Rite of Spring" (1913). The New York Philharmonic recording of "Petrouchka" (recorded in 1971) has moderate tempos in many places, and Boulez is nicely nuanced where needed. Stravinsky's colorful orchestration is always apparent, and Boulez lets the music speak for itself: the elements of cruelty and grotesquery are always obvious in Stravinsky's score of a somewhat disturbed plot, written just a few years prior to World War I, a time of political and social upheaval and instability. This is a fascinating recording, and I've heard many: Ormandy (Sony), Bernstein/New York (CBS), Dutoit/London Symphony (DG), Ansermet (Decca), Rahbari (Naxos), Craft (Naxos), Monteux/Paris Conservatoire (London LP), and Stravinsky/Columbia Symphony (CBS). Boulez tends to be clinical in parts of the score, and Stravinsky can take it. Very fine recording.

"Le Sacre du Printemps" (the rite of spring) recorded in 1969 with the Cleveland Orchestra, is also excellent. Boulez keeps the motion and momentum going throughout the Part I and II, up to the "sacrificial dance" (final movement) - where he takes a tempo which is slower than usual. Boulez's tempo is not too slow, nor does it drag, but it is slower than Bernstein/New York (Columbia LP), Ancerl (Supraphon), Abbado/London (DG), or Mehta/New York (Sony).

Sound in both recordings is excellent, better than many DDD recordings made in the past 15 years. Highly recommended, as a souvenir of one great conductor/composer interpreting another.

Exceptional Performances.......2005-08-06

Pierre Boulez, according to some, is known for being too analytical and quite dry in just about everything he does. The recordings come out as meticulously well-played and quite clear, but atmospherically and musically bland. However, I believe there are exceptions: this recording of two of Stravinsky's warhorses is one of them.

Beginning with Petrouchka, Boulez's reputation for making an ensemble play virtuosically and with great clarity is proven. Even while someone may have complained about there not being equal treatment in recording balance, I got the feeling that it sounded more like sitting in an orchestra hall. The soloists play their hearts out (as does the rest of the orchestra) and I have not found anything to complain about.

The excitement of Petrouchka ends and I feel myself begging for more excellent music, and to my relief, Rite of Spring begins with that eerie bassoon solo. I got to thinking that if the beginning solo was any indication of what was to come from the rest of the orchestra on this masterpiece, I was in for a ride I didn't want to get off. The colors and timbre the orchestra put forth and the blend just blew me away. I could feel the terror of this music and it was ingratiating.

Sonics on this recording are top notch and have been since its 'silver disc' debut 11 years ago. So with the quality of sound and quality of performance adding up to top notch, my conclusion is get it and don't regret it. At the price Amazon offers it for, it's a STEAL.

So you want to start listening to classical music...........2004-07-19

This is a pretty good place to start for neophytes. Stravinsky was ahead of much of the pack and at the same time never really dove completely into 12-tone, and these two are his definitive works. Plus, you can always count on Boulez to give a straightforward reading of anything he's involved with.

Unbeatable value, but only one of many.......2003-12-05

The Rite of Spring is easily one of the most significant pieces of music ever written. Every time I hear a radio station having a listeners' poll of "best pieces of classical music," the Rite is always among the top 5. Though the piece can be challenging for those who have never heard Stravinsky, it's a profound piece that yields more enjoyment with each listen (so the first hundred listens are certainly in the "learning" stage).

Among the recordings out there, each accentuates different aspects of the complexity of Stravinsky's score, and a good handful are worth having. Some are noteworthy for their sheer force, while others for their clarity and refinement. This one, an earlier recording of Cleveland under Boulez, is a nice balance of precision and force. Compared to others, it can seem uninteresting, though. At a budget price, however, it certainly provides return for the dollar. Boston under Ozawa (Reference) is a much more forceful and exact performance, and is also sold at a budget price.

Most of the best recordings are still at full price. Boulez has changed drastically in the last 2 decades--now he is less dogmatic, more flexible, and better liked by orchestra players. Since recording quality has also made great strides, the recent recording of Petrouchka and the Rite with Cleveland under Boulez is hard to pass up. The Petrouchka is especially charming. It is only about $3 more, and every bit worth it.

For sheer force, I have always preferred Saint Louis under Leonard Slatkin, though this may be out of print. For precision, the recent recording of San Francisco under Tilson Thomas cannot be beat.

Comparable to the 1969 Boulez/Cleveland, Karajan's with the Berlin Philharmonic is also a classic, notable for its consistency and depth of musicianship, though Karajan audibly struggles with his orchestra at times (I always found this to add "drama" to the work). For recording quality, perhaps the best is Minnesota under Oue, which is also an amazingly clear and exact reading, but perhaps reserved.

In sum, the 1969 Boulez recording is a classic recording for a budget price, but I'd probably go for the Ozawa for the same price. In any event, Tilson Thomas's is amazing and worth every dollar at full price, and Boulez's more recent one is also good.

Get this! :).......2003-08-17

This album is great... excellent performances and really, really great music.... and it's cheap, too!

Stravinsky: Le Sacre du printemps/L'Oiseau de feu/Jeu de cartes/Petrouchka/Pulcinella

Average customer rating:

Abbado's Stravinsky from his LSO period is very fine
Phenomenal Firebird
Practically Perfect
Wonderful
Great Interpretations of Stravinsky From Abbado

Stravinsky: Le Sacre du printemps/L'Oiseau de feu/Jeu de cartes/Petrouchka/Pulcinella

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GYI
Release Date: 1997-07-15

Tracks:

L'Adoration de la terre: Introduction
L'Adoration de la terre: Les Augures printaniers - Danses des adolescents
L'Adoration de la terre: Jeu du rapt - Game of Abduction
L'Adoration de la terre: Rondes printanieres - Spring Round Dances
L'Adoration de la terre: Jeux des cites rivales - Games of the Rival Tribes
L'Adoration de la terre: Danse de la terre - Dance of the Earth /Le Sacrifice - The Sacrifice
Le Sacrifice: Introduction
Le Sacrifice: Cercles mysterieux des adolescentes - Mystical Circles of the Young Girls
Le Sacrifice: Glorification de l'Elue - Glorification of the Chosen Victim
Le Sacrifice: Action rituelle des ancetres - Ritual of the Elders
Le Sacrifice: Danse sacrale (L'Elue) - Sacrificial Dance (The Chosen Victim)
L'Oiseau De Feu: Introduction
L'Oiseau De Feu: Variation de l'Oiseau de feu - Variation of the Firebird
L'Oiseau De Feu: Ronde des Princesses - The Princesses' Round
L'Oiseau De Feu: Danse infernale du roi Kachtchei - Infernal Dance of King Kahchei
L'Oiseau De Feu: Berceuse - Lullaby
L'Oiseau De Feu: Final - Finale
Jeu de cartes: Premiere donne
Jeu de cartes: Deuxieme donne
Jeu de cartes: Troisieme donne

Tracks:

Petrouchka: Fete populaire de la semaine grasse - The Shrovetide Fair
Petrouchka: Danse russe - Russian Dance
Petrouchka: CHez Petrouchka - Petruschka's Room
Petrouchka: CHez la Maure - The Moor's Room
Petrouchka: Valse: La Ballerine et le Maure - Waltz: The Ballerina and the Moor
Petrouchka: Fete populaire de la semaine grasse - The Shrovetide Fair (towards evening)
Petrouchka: Danse des nounous - Dance of the Nursemaids
Petrouchka: L'ours et un paysan - The Bear and the Peasant
Petrouchka: Un marchand fetard avec deux tziganes - The Jovial Merchant with Two Gypsy Girls
Petrouchka: Danse des cochers et des palefreniers - Dance of the Coachmen and Grooms
Petrouchka: The Masqueraders
Petrouchka: La rixe: Le Maure et Petrouchka - The Fight: The Moor and Petrushka
Petrouchka: Mort de Petrouchka - Death of Petrushka
Petrouchka: La police et le charlatan - The Police and the Showman
Petrouchka: Apparition du double de Petrouchka - Apparation of Petrushka
Pulcinella: Ouverture: Allegro mederato
Pulcinella: Serenata: Larghetto
Pulcinella: Scherzino: Allegro
Flaminio, Act III, Checca's Canzona: Poco piu vivo
Pulcinella: Allegro
Pulcinella: Andantino
Pulcinella: Allegro
Pulcinella: Allegretto
Pulcinella: Allegretto assai
Pulcinella: Allegro
Pulcinella: Largo (Trio), Allegro, Presto
Pulcinella: Allegro - alla breve
Pulcinella: Tarantella
Pulcinella: Andantino
Pulcinella: Allegro
Pulcinella: Gavotta con due variazioni
Pulcinella: Vivo
Pulcinella: Tempo di minuetto
Pulcinella: Allegro assai

Amazon.com

This is an excellent Stravinsky collection on all counts. Claudio Abbado's recordings with the London Symphony Orchestra represent the high-water mark of his career, and DG captured the partnership in generally fine sound. This recording of the complete Pulcinella, with the songs included, set an entirely new standard for the work, and its excellence has worn very well in the couple of decades since its initial release. The performance of Jeu de Cartes (Card Game) also should win many new friends for this entertaining late work. As to the Big Three ballets, all of them were among the most recommendable versions when they first came out, and they still are. --David Hurwitz

Customer Reviews:

Abbado's Stravinsky from his LSO period is very fine.......2006-09-22

Abbado thrived in London in the Seventies and early Eighties with the LSO, and their collaboration produced some of his most vigorous performances. These Stravinsky ballets are among them. (I can't agree with David Hurwitz that Abbado never got better--he became an unparalleled maestro in his last years with the berlin Phil.) DG's bargain two-fer features dynamic, in-your-face sonics, especially in Le Sacre. Admittdly, there are passing moments when Abbado, as was his wont, turns a bit tame and cautious, but the overall impression is of a brash, propulsive Le Sacre. The Firebird Suite is the only item, however, that's seriously underplayed.

Petrushka gets another vivid recording and lots of commitment from the LSo; it also finds Abbado at his most involved. But the main attraction here isn't the most familiar works but Abbado's complete Pulcinella and the Balanchine-commissioned Jeu de Carte (Hurwitz mistakenly calls it a late work. with Stravinsky, late means the 1950-71, not 1937, when this ballet was premiered). Abbado's approach is classical and balanced, but there's a good deal of inner life, which Stravinsky's 'white' ballet music desperately needs if it's to connect with a concert audience.

I especially like the Pulcinella, which is an oddly difficult work to bring off. Abbado plays it lightly, with refined textures and attacks that aren't as dry and sharp as we usually expect, articularly from the composer himself. Purists may find Abbado too mellifluous, but he's never rough and vulgar. He's lucky in his prestige vocalists (Berganza, Shirley-Quirk, and Davies), who struggle just a bit in songs that often defeat lessert singers.

All in all, there's stiff competition in these pieces, but Abbado gives ue the best omnium gatherum of all five.

Phenomenal Firebird.......2006-09-14

This is a great Firebird. Abbado, among many othe things to dmire, has the strings playing sul ponto in the last section rght before the french horn solo. He gets all these overtones from the violins: it sounds like a some ghostkt chorus on top of the orchestra. Amazing performance

Practically Perfect.......2006-03-15

This recording of The Firebird makes me weep every time I hear it...there is a beautifully sophisticated, subtle touch to this recording that ignites the spirit of inpsiration without going crazy; it is still art in it's fullest, noblest sense. The skilled Abbado lets Stravinsky work his magic. Practically perfect.

Wonderful.......2005-03-18

I love these CDs because they have the most important Stravinsky ballets, complete, all on 2 CDs, and they are all great performances. Also, this recording is with the LSO, an amazing orchestra that has both overwhelming power and overwhelming beauty, under the baton of the great Claudio Abbado. Sound quality is very good. Highly recommended.

Great Interpretations of Stravinsky From Abbado.......2002-03-27

This magnificient two CD set contains some of Abbado's finest recordings with the London Symphony Orchestra. His great interpretations of Stravinsky's scores can easily hold their own against those from the likes of Bernstein, Boulez, Haitink, and more recent interpreters such as Gergiev. His "Le Scare du printemps" is one of the most dramatic recordings I've heard, replete with tense, vibrant playing from the London Symphony Orchestra. It is a visceral, emotionally raw account pulsating with energy. Equally noteworthy is his splendid interpretation of "L'Oiseau de feu", which is a brisk, dramatic performance. Both "Jeu de cartes" and the entire score of "Pulcinella" are very pleasant surprises too. My only slight criticism is Abbado's interpretation of "Petrouchka" which doesn't sound as dramatic as Haitink's with the London Philharmonic. The sound quality on these image bit digitally remastered CDs is absolutely stunning; it sounds as good as contemporary recordings.

Stravinsky: Le sacre du printemps; Pétrouchka

Average customer rating:

Savage, Prehistoric Russia

Stravinsky: Le sacre du printemps; Pétrouchka

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

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Similar Items:

Monteux Sibelius Symph#2 + Stravinsky Firebird Suite
César Franck: Symphony in D Minor; Igor Stravinsky; Pétrouchka [Hybrid SACD]
Keeping Score: Revolutions in Music - Stravinsky's Rite of Spring
Rimsky-Korsakov: Scheherazade; Stravinsky: Song of the Nightingale [Hybrid SACD]

ASIN: B0002VYDXW
Release Date: 2004-10-12

Amazon.com

The amount of sheer history present in this release threatens to overwhelm its musical value. Monteux conducted the world premieres of both of these works, and these recordings commemorate returns to the orchestra he had directed just after the First World War. Petruschka, in sparkling 1959 stereo, lacks the violence and visionary character heard in some of the best performances (like Stokowski/Philadelphia). But its clarity and musical impulse are really treasurable, and combined with the playing of the great orchestra they make for a memorable version even though it leaves some things unsaid. The Rite of Spring is 1951 mono, but the clarity of the recording and its impact hold up surprisingly well. If you want sheer viciousness (a worthwhile quality in this music) look for the deleted Dorati/Minneapolis Mercury CD. For a performance that treats this piece for its musical values, Monteux is extremely gratifying. It's difficult to believe the legend that the conductor didn't like this music! RCA's new remastering is marginally clearer than the previous RCA Gold Seal addition, and the price is right. --Leslie Gerber

Customer Reviews:

Savage, Prehistoric Russia.......2007-04-20

"The Rite of Spring" by Stravinsky is the ground-breaking work that shattered the conventional "Romantic" style of it's day. It portrays the savage world of prehistoric Russia. An animal passion seems to drive the work to a thundering climax. Bernstien's version is too self-indulgent; Boulez is too cold; even Stravinsky's own recording does not measure up to Monteux's passion and French polish. Monteux also premiered the work in 1911.

Comparisons: Bernstein/Israel Phil. Orch.; Boulez/Cleveland Orch.;Stravinsky

Stravinsky: Petrouchka; Le Sacre de printemps

Average customer rating:

Great Petrushka, Sad Sacre
80 YEARS ON
underrated
crisp and clean...
Very good. But for GREAT, to back to 1969!

Stravinsky: Petrouchka; Le Sacre de printemps

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Le Chant du Rossignol/L'Histoire du Soldat
Stravinsky: Symphony of Psalms; Symphony in Three Movements
Béla Bartók: Bluebeard's Castle - Jessye Norman / László Polgár / Chicago Symphony Orchestra / Pierre Boulez
Debussy: La Mer - Jeux - Rhapsodie pour clarinette et orchestre
Boulez: Sur Incises/Messagesquisse/Anthèms 2

ASIN: B000001GGJ
Release Date: 1992-10-13

Tracks:

Petrouchka: First Tableau: The Shrovetide Fair - Legerdemain Scene - Russian Dance
Petrouchka: Second Tableau: Petrushka's Room
Petrouchka: Third Tableau: The Moor's Room - Dance Of The Ballerina - Waltz: The Ballerina And The Moor - Petrushka
Petrouchka: Fourth Tableau: The Shrovetide Fair - Dance Of The Nursemaids - The Peasant And The Bear-The Jovial Merchant With Two Gypsy Girls - Dance Of The Coachmen And Grooms - The Masqueraders-The Fight: The Moor And Petrushka-Death Of Petrushka
Le Sacre du printemps: Partie 1
Le Sacre du printemps: Partie 2

Amazon.com

Boulez's DG remakes for these landmark ballets score over his previous CBS versions on sonic and executional grounds. The Cleveland Orchestra's chilly proficiency and regimented perfection, though, seems achieved at the expense of atmosphere and character, as exemplified in Chailly's Sacre with the same orchestra on London, or the composer-led Columbia Symphony Pétrouchka. --Jed Distler

Customer Reviews:

Great Petrushka, Sad Sacre.......2007-06-06

This is the recording I "grew up" with. The Petrushka is amazing -- Cleveland's style seems perfectly suited to it.

The Rite is decent, but for whatever reason there are a number of strange mistakes. To name a few I open my Dover score (I use this as a reference since it's so widely available) --

Page 9 - measure 2 -- trumpeter plays two a-flats
Page 13 - system 2 - measure 5 -- a clarinet enters a bar early
Page 88 - measure 1 -- a bass clarinet changes a beat early
Page 92 - last measure forward -- Eb clarinet plays 32nd notes instead of sextuplets.

Such "no brainers" are maddening with an orchestra and conductor of this talent. I haven't checked if this is a studio recording -- if it is, it baffles me how such simple mistakes could get through to the final cut.

However, it is refreshing to hear a wind and string dominated performance again. In my opinion most conductors let the "rawness" of the piece allow the heavy brass to obliterate the delicately crafted orchestral balance, leaving extremely important material covered (see the Michael Tilson Thomas recording with San Francisco). The strings here are almost impeccable, and if I were teaching an orchestration class on strings I would probably use this recording. Unfortunately the horns are wimpy throughout and are decimated by the other brass and even in some cases the winds. For instance, an exceedingly lovely detail is missed in the Dance of the Earth (last dance of the first half), where the horns build ever higher triplet hemiolas -- you can barely hear them at all (granted this is a problem with most recordings -- the conductor often lets the trumpets and drums play too loud, again probably for "power" or whatever).

I don't know why, but I find the mistakes in the Stravinsky/Columbia recording much easier to swallow, since the balance is so much better. I think it may have something to do with potential as well -- Boulez had a chance to make a canonical recording rivaling his 1969 rendition. He succeeded with Petrushka, but not with Le Sacre.

80 YEARS ON.......2006-08-15

Both Petrushka and the Rite date from 1911, and these performances of them were recorded in 1991. By that date Boulez himself was not in the springtime of his youth, and it may well be, as some comment seems to suggest, that his readings are less incisive than in earlier days. Myself, I am not even fully convinced that this is the case, and even if it is the compensations seem to me more than to make up for it. These readings are less strident than some, and there is no sense of straining to obtain effects of contrast. Petrushka's cry, for one thing, is relatively euphonious here, and the Rite in general is probably not quite as dramatic as my wonderful performance, extraordinarily well recorded on a Mercury LP about 50 years ago, by Dorati with the Minneapolis orchestra. On the other hand, Boulez at this stage of his career seems concerned more than before with beauty of orchestral tone, and I say without hesitation that this is the most beautiful Petrushka that I have ever heard in my own lengthening life.

In any case, even if the new approach is less forceful than previously, I detect no loss whatsoever of underlying strength. Boulez has always seemed to me ideally suited as a conductor of Stravinsky. His dynamics may be less `terraced' here than he would once have made them, but the clarity of texture that he obtains is as absolute as ever, and his strength of line and rock-steady firmness of rhythm mark him out as they always did. Above all what is bound to strike you in this performance is the sheer quality of it all. Listening to sound as magnificent as this, I was astonished that it had been achieved so long ago as 1991. Szell had turned the Cleveland Orchestra into a mighty playing-machine, so bring on the right maestro to mould and direct the virtuosity of every section of the band, give them all world-beating engineering, and the end product is an outright orgy of acoustical perfection and beauty. What an amazing bunch of orchestrators the Russian masters were! Stravinsky was a pupil of Rimsky himself, and the master might have envied his pupil if he had heard what we can all, in the third millennium, hear on this disc.

Occasionally everything seems to go right, just as all too often nothing seems to, and here, on top of the outstanding performance and recording, we have a first class liner-essay by Professor Richard Taruskin. I personally wonder whether, even in 1911, the Rite of Spring was as much of a shock to its hearers as Taruskin lets on - he himself admits that what caused the misbehaviour during the Paris premiere was more Nijinsky's choreography than Stravinsky's harmonies. However he has been given adequate space to set out his erudition and his insights, and he has the appropriate material to fill the space with. These days I find it hard to suppose that Stravinsky in general, and these two works in particular, are capable of shocking any but the least experienced music-lovers. To them, and to those who have been around the matter longer, I say that if the word that you would have used to characterise Stravinsky was not `beautiful' it will be after you have got to know this disc. He is my own favourite Russian composer of them all, but I'm not sure I had quite understood what he amounts to in all ways until I had heard what I have heard on this occasion.

underrated.......2006-05-22

This is my favorite Stravinsky disc, along with Boulez' and Dorati's Firebird.

I never liked Stravinsky's own recordings that much, in Petrouchka he's very rude, he underplays the gentle passages very much and in Le Sacre he's too fast in some parts and therefore not powerfull enough.

I've listened to many records and I must say I quite like a lot of recordings of Le Sacre, but there aren't that many good Petrouchkas.
The only one I almost like as much as Boulez' is Dorati's and Boulez' earlier one for Sony

Boulez might seem a bit unexiting at first glance, but his version is very accurate, precise, sharp and constant moving...his natural phrasing makes his version much more fluid, forward moving, where others stop the music at times, wanting to add too much contrasts in tempi at certain parts.

As a whole Boulez' recording moves along a lot quicker than others, because of his seamless moulding of every single fragmented part...surprising because in some passages he's actually slower than many.

The recording is detailed, spacious and quite refined and maybe that's the reason why many people think it lacks excitement.
Considering only the old records people mention as their favorites, with more direct and louder sound, this doesn't come as a surprise to me.
Yes I would've liked a Mercury Living Presence sound with this Boulez recording, with that sound I'm almost certain many would adore Boulez' Petroushka!

crisp and clean..........2005-06-21

...that's the Cleveland way. It's definitely note perfect, but perhaps unfulfilling and uninspiring in some sections of both pieces. The recording quality is superb (as Grammophon usually is), and like I said before, all the notes are there, but it's missing that extra "umph" that Stavinsky's music calls for. Also, this is the 1911 version of Petrouchka, NOT the 1947 version as labeled on Amazon.com. Don't be mislead by that.

Very good. But for GREAT, to back to 1969!.......2005-05-08

When George Szell was appointed Music Director of the Cleveland Orchestra in 1946, he sculpted an ensemble that even 35 years after his death remains the most technically proficient orchestra in the history of recorded classical music. Quite simply, this orchestra is so tight and precise that it is easy to forget that one is hearing 100-plus musicians!

However, much of the 20th century repertoire was beyond his intellectual purview. No greater evidence of this is the dreadful Szell/Cleveland Orchestra recording of Bartok's Concerto for Orchestra.

Enter Pierre Boulez, who seems to understand contemporary music at a cellular level.

Therefore, when a conductor like Boulez is leading an ensemble like the Cleveland Orchestra, the listener will experience such music in a way seemingly impossible with any other orchestra/conductor pairing. Clearly, these musicians love playing for Boulez.

As for this second recording with Boulez and the Cleveland Orchestra, it is as one might expect. That is to say, it is very good. Clean, well, conceived, with excellent balance, and for the most part, intelligently paced.

However, it can never be regarded as the definitive recording because of perhaps the most vivid and electrifying recording ever of this work, created in Severance Hall with the Cleveland Orchestra and Boulez in 1969.

The only criticism one might have is that the sound quality is obviously not up to the standards of this DGG digital recording. But the playing on the 1969 CBS recording so precise, so clean, so alive, that even the hardest of hardcore audiophiles, if he or she loves this work, will be taken completely beyond the sound, and into the music.

If I had only one recording of this 20th century masterpiece, it would be with this orchestra and this conductor. But not this recording.

Seek out the 1969 CBS recording, for which a five-star rating is inadequte. Once you hear THAT stunning performance, you will never be satisfied with anything less.

Igor Stravinsky: Petrouchka; Le Sacre du Printemps

Average customer rating:

Leibowitz's Rite & Danon's Petrouchka

Igor Stravinsky: Petrouchka; Le Sacre du Printemps

Manufacturer: Chesky Records
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

Beethoven: Symphony No. 9
Portrait of France
Beethoven: Symphonies 6 & 8

ASIN: B000003GD6
Release Date: 1993-03-22

Tracks:

Petrouchka: Burlesque Scenes in four tableaux: Tableau I: The Shove-tide Fair - Beginning
Petrouchka: Burlesque Scenes in four tableaux: Tableau I: The Shove-tide Fair - The Crowds
Petrouchka: Burlesque Scenes in four tableaux: Tableau I: The Shove-tide Fair - The Charlatan's Booth
Petrouchka: Burlesque Scenes in four tableaux: Tableau I: The Shove-tide Fair - Russian Dance
Petrouchka: Burlesque Scenes in four tableaux: Tableau II: Petrushka's Room
Petrouchka: Burlesque Scenes in four tableaux: Tableau III: The Moor's Room - Beginning
Petrouchka: Burlesque Scenes in four tableaux: Tableau III: The Moor's Room - Dance Of The Ballerina
Petrouchka: Burlesque Scenes in four tableaux: Tableau III: The Moor's Room - Waltz (Ballerina And Moor)
Petrouchka: Burlesque Scenes in four tableaux: Tableau IV: The Shove-tide Fair (Near Evening) - Beginning
Petrouchka: Burlesque Scenes in four tableaux: Tableau IV: The Shove-tide Fair (Near Evening) - Dance Of The Nursemaids
Petrouchka: Burlesque Scenes in four tableaux: Tableau IV: The Shove-tide Fair (Near Evening) - Dance Of The Peasant And Bear
Petrouchka: Burlesque Scenes in four tableaux: Tableau IV: The Shove-tide Fair (Near Evening) - Dance Of The Gypsy Girls
Petrouchka: Burlesque Scenes in four tableaux: Tableau IV: The Shove-tide Fair (Near Evening) - Dance Of The Coachmen And Grooms
Petrouchka: Burlesque Scenes in four tableaux: Tableau IV: The Shove-tide Fair (Near Evening) - The Masqueraders
Petrouchka: Burlesque Scenes in four tableaux: Tableau IV: The Shove-tide Fair (Near Evening) - The Conclusion (Petrushka's Death)
The Rite Of Spring (Pictures Of Pagan Russia): Part 1: The Adoration Of The Earth - Introduction
The Rite Of Spring (Pictures Of Pagan Russia): Part 1: The Adoration Of The Earth - Dances Of The Young Girls
The Rite Of Spring (Pictures Of Pagan Russia): Part 1: The Adoration Of The Earth - Mock Abduction
The Rite Of Spring (Pictures Of Pagan Russia): Part 1: The Adoration Of The Earth - Spring Round Dances
The Rite Of Spring (Pictures Of Pagan Russia): Part 1: The Adoration Of The Earth - Games Of The Rival Tribes
The Rite Of Spring (Pictures Of Pagan Russia): Part 1: The Adoration Of The Earth - Procession Of The Wise Elder
The Rite Of Spring (Pictures Of Pagan Russia): Part 1: The Adoration Of The Earth - Adoration Of The Earth (The Wise Elder)
The Rite Of Spring (Pictures Of Pagan Russia): Part 1: The Adoration Of The Earth - Dance Of The Earth
The Rite Of Spring (Pictures Of Pagan Russia): Part II: The Sacrifice - Introduction
The Rite Of Spring (Pictures Of Pagan Russia): Part II: The Sacrifice - Mystical Circles Of The Young Girls
The Rite Of Spring (Pictures Of Pagan Russia): Part II: The Sacrifice - Glorification Of The Chosen Victim
The Rite Of Spring (Pictures Of Pagan Russia): Part II: The Sacrifice - Summoning Of The Ancients
The Rite Of Spring (Pictures Of Pagan Russia): Part II: The Sacrifice - Ritual Of The Ancients
The Rite Of Spring (Pictures Of Pagan Russia): Part II: The Sacrifice - Sactificial Dance (The Chosen Victim)

Customer Reviews:

Leibowitz's Rite & Danon's Petrouchka.......2005-05-16

When I was in college back in the 1960's, my introduction to many staples of the classical repertoire was via a large LP box set from Reader's Digest. Some of those performances have stood up very well over the years - Boult's Franck D Minor Symphony and Leibowitz's Schumann "Rhenish" in particular. And this Leibowitz "Rite of Spring" was there, too.

I feel rather nostalgic about this Rite - after all, it's how I first heard the work. It was recorded in 1960 by the famed Charles Gerhardt (producer) and Kenneth Wilkinson (recording engineer) and the sound is excellent. The "London Festival Orchestra" was actually a pseudonym for the Royal Philharmonic (the subterfuge was for contractual reasons). It's fascinating to hear how Leibowitz, a pupil of Arnold Schoenberg, interprets Stravinsky's seminal work. It's pretty analytical and slightly under-powered, not especially well-played, and rather slow. There's nothing else quite like it - the slashing dissection by Boulez (who was Leibowitz's student) with the Cleveland Orchestra (Sony) is almost the complete opposite of this one. Leibowitz achieves some genuinely hypnotic moments: the introduction to Part II "The Sacrifice," which takes 5:06, is probably the slowest I have ever heard (Stravinsky, in his 1940 NY Phil. reading on Andante - probably my favorite performance of all - does it in just 3:50).

I never heard Yugoslav conductor Oskar Danon's "Petrouchka" prior to buying this CD. He uses the richer-sounding original 1911 version (Stravinsky revised it in 1947 so he could get an international copyright). Danon's Royal Philharmonic account from 1962 is carefully detailed, rather well-played, and perhaps just a tad earthbound. He provides neither the x-ray clarity of Hans Rosbaud with the Concertgebouw (originally on Philips LP, but now in a DG box set devoted to Rosbaud) nor the pointillistic sculpting of Hermann Scherchen (DG Westminster). But Danon has one asset that those other conductors lack: absolutely FABULOUS recorded sound (even better than Ansermet's stereo Decca recording).

I wouldn't opt for either of these performances as a top choice, but there are qualities here that are very satisfying. The Leibowitz Rite is a fascinating interpretation, and the Danon has probably the best recorded sound of ANY Petrouchka.

Recommended.

Stravinsky: The Firebird; Rite of Spring; Petrouchka; Scherzo fantastique

Average customer rating:

In my opinion...
yeah right!
Outstanding "Rite", Good Firebird, Disappointing Petrushka
SORPRENDENTE

Stravinsky: The Firebird; Rite of Spring; Petrouchka; Scherzo fantastique

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B000006CRW
Release Date: 1998-03-17

Tracks:

Petrouchka - Tableau 1: The Shrovetide Fair
Petrouchka - Tableau 1: The Magic Trick
Petrouchka - Tableau 1: Russian Dance
Petrouchka - Tableau 2: Pouchka's Room
Petrouchka - Tableau 3: The Moor's Room
Petrouchka - Tableau 3: Dance of the Ballerina
Petrouchka - Tableau 3: Waltz (The Ballerina and the Moor)
Petrouchka - Tableau 4: The Shrovetide Fair (evening)
Petrouchka - Tableau 4: Dance of the Coachmen and the Grooms
Petrouchka - Tableau 4: The Mummers
Feu D'artifice Op. 4: Fireworks
The Rite of Spring - Adoration Of The Earth: Introduction
The Rite of Spring - Adoration Of The Earth: The Augurs of Spring
The Rite of Spring - Adoration Of The Earth: Ritual of Abduction
The Rite of Spring - Adoration Of The Earth: Spring Rounds
The Rite of Spring - Adoration Of The Earth: Ritual of the Two Rival Tribes
The Rite of Spring - Adoration Of The Earth: Procession of the Sage
The Rite of Spring - Adoration Of The Earth: The Kiss of the Earth
The Rite of Spring - Adoration Of The Earth: The Dancing Out of the Earth
The Rite Of Spring - The Sacrifice: Introduction
The Rite Of Spring - The Sacrifice: Mystic Circles of the Young Girls
The Rite Of Spring - The Sacrifice: Glorification of the Chosen One
The Rite Of Spring - The Sacrifice: Evocation of the Ancestors
The Rite Of Spring - The Sacrifice: Ritual Action of the Ancestors
The Rite Of Spring - The Sacrifice: Sacrifical Dance

Tracks:

The Firebird: Introduction
The Firebird: Kashchei's Enchanted Garden
The Firebird: Appearance of the Firebird
The Firebird: Dance of the Firebird
The Firebird: Ivan Tsarevich captures the Firebird
The Firebird: Supplication of the Firebird
The Firebird: Appearance of the Thirteen Enchanted Princesses
The Firebird: The Princesses' Game with the Golden Apples
The Firebird: Sudden Appearance of Ivan Tsarevich
The Firebird: The Princesses' Round Dance
The Firebird: Daybreak, Ivan Tsarevich enters Kashchei's Palace
The Firebird: Magic Carillon, Capture of Ivan Tsarevich
The Firebird: Arrival of Kashchei the Immortal
The Firebird: Appearence of the Firebird
The Firebird: Dance of Kashchei's Retinue
The Firebird: Infernal Dance
The Firebird: Lullaby (Firebird)
The Firebird: Kashchei's Death
The Firebird: Disappearence of the Palace and Dissolution of Kashchei's Enchantments, General Thanksgiving
Scherzo Fantastique, Op. 3: Pour Grand Orchestra

Customer Reviews:

In my opinion..........2006-02-12

These three well-received ballets by Russian-born Igor Stravinsky are something that (almost) everyone should hear. Each has its own lovable spark that has generated inspirations for later composers like Kodaly, Walton, and Poulenc. Petrushka is lively and hauntingly majestic at high levels with its instrumental solos and expressive settings. The Firebird is dark, bold, and deeply mythological, with a first-rate musical flow that lasts for about forty minutes. The Rite of Spring (Le Sacre du Printemps), as everyone well knows, is violently wicked and heavily evocative, and the orchestra does much more work than the ballet dancers. These three gems are at their highest marks when well-known conductors (such as Rattle, Salonen, Craft, and Gergiev) take these works and turn them into powerful forces of nature that travel into our ears and stimulate our brains with encouragement and surprise. With this 2 disc set, with Eliahu Inbal and the Philharmonia, I must say that it doesn't fail in performance or musicality. But it isn't perfect, however.

First off, with Le Sacre du Printemps, the introduction is more organic than usual, which gives a creepier and more sophisticated look of what's to come in the later segments. "The Augurs of Spring" and "Ritual of Abduction" disappoint. The pace is dragged and there isn't much energy to produce a full effect of what Stravinsky intended. "Ritual of the Two Rival Tribes" and "Procession of the Sage" will make you forget about the slowness of the recent two segments with its cackling willpower. The moaning tubas and the menacing trumpets are in good quality here. "The Dancing out of the Earth" is flawed because the solo trumpet is overpowered by the low woodwinds and fast strings. The second half of Sacre is by practical definition of the words Profound and Unforgettable. "Introduction" and "Mystic Circles of the Young Girls" will give you goose-bumps for sure. "Glorification of the Chosen One" is nearly faultless; its vigor isn't brought down by slower tempi, and the brass and strings are in top form. "Ritual Action of the Ancestors" is, as usual, devilish, and the loud "Sacrificial Dance" will make your skin crawl.

The Firebird, in its original 1910 manuscript, does not lack the charm when taken seriously by the conductor. From "Introduction" to "Supplication of the Firebird," the darkness of the first ten minutes of this piece has been given a slow swiftness, and that makes it a good thing. It makes you imagine the deep forests of Russia as a symbol of fear and not wildness. The Thirteen Princesses sequences are splendid; the lightness and dynamism have the perfect volume (not that soft and not that loud). The Round Dance is a relaxing trance that is interrupted by the terrifying equally ferocious appearances of Ivan Tsarevich. "Infernal Dance" is at its best in Inbal's hands. The tempo is perfect in this kind of situation, the resonance of the brass and woodwinds are not obscured by the strings that are given secondary importance here, and the percussion incredibly delivers with its clang and bang and clunk and thud. The "Lullaby" is a tearjerker when it comes to the bassoon's buoyancy and the strings' lovely dictions. The "General Thanksgiving" is slightly marred by the somewhat quick pace, but the brass and timpani in their 7/4 time signature are played with all their might and finishes this ballet with a humongous bang.

Inbal's rendition of Petrushka may not be satisfying to those who have heard of this piece before. Tableau 1 (The Shrovetide Fair, the Magic Trick, and Russian Dance) is only mediocre because of lack of tension. Tableau 2 (Petrushka's Room) is better with clear articulation from the woodwinds and brass. Though devoid of expression, it gives off a sparkling flow with its sheer lovingness. Tableaus 3 and 4 fail in many levels. The tempi is off, the tension is heard nowhere, the finale doesn't give out a smooth ebb with its finishing touch, and the strings don't seem to follow the conductor correctly. The trumpet solo in the "Dance of the Ballerina" sounds nice, though.

With two memorable fillers, Fireworks and Scherzo Fantastique, this set is part of the love-it-or-leave-it variety. I personally love it because of its firm handling of The Firebird and Le Sacre du Printemps. There are better recordings of Petrushka that are out there, like the Neeme Jarvi version. All in all, this is a good buy. Unfortunately, Amazon didn't have the nerve to collect more stock for this item, so you should find it somewhere else. At mid-price, you won't want to miss out on this one.

yeah right!.......2000-07-27

The Rite of Spring almost sounds good if you have never heard it played by a different orchestra. This disc did not live up to my expectations. If you want an awesome recording, look up Stravinsky: The Rite of Spring, by the Plovdiv Orchestra. You will be amazed!

Outstanding "Rite", Good Firebird, Disappointing Petrushka.......2000-03-29

The Philharmonia Orchestra has long been considered the British orchestra second in quality to the London Symphony Orchestra, and, more recently, third behind Rattle's City of Birmingham Symphony Orchestra. The Philharmonia Orchestra's glory days were the 1960s, particularly the recordings made under the direction of Giulini.

Under the baton of conductor Eliahu Inbal, this disk of Stravinsky marks their return to the world stage as a top-notch ensemble: exciting brass, tight ensemble playing, and strong individual woodwind performances. The recording of the Rite of Spring stands out as powerful as I have heard it anywhere. The raw bestiality of Stravinsky's score comes through with a vengeance--it is easy to see why this work evoked such outrage upon its premiere. Inbal provides strong direction and lets the colorful orchestration shine. The performance is so overwhelming you will want to play it to the limit your speakers (and neighbors) can tolerate.

The recording of the 1911 score of Petrushka, however, is a bit more disappointing. While there are many excellent individual performances among the musicians in the orchestra, it appears as though the work is under rehearsed. Petrushka requires the musicians to alternately sound like a full orchestra or a small chamber ensemble; the latter passages often lack rhythmic cohesion amongst the soloists. It is also a playful piece, but that character seems to have been somewhat missed in this performance.

The Firebird is heard here in its complete version. Fans of the suite extracted from this ballet will discover (not unexpectedly) that the suite encompasses the best passages of the entire work, and that the additional music makes the complete version into a rather clumsy composition. Nonetheless, the Philharmonia Orchestra performs valiantly: the Infernal Dance is energetic and exciting, the Lullaby beautiful, and the Finale grandiose (albeit the ensemble occasionally loses its cohesion here also).

Despite some drawbacks in the Petrushka, this 2-CD set is a good buy (it also includes the shorter Fireworks and Scherzo Fantastique) and has excellent sound quality.

SORPRENDENTE.......2000-03-23

Gran interpretación de Inbal en La consagración de la primavera, un manejo rítmico ejemplar, sumado a una concepción salvaje de la obra, hacen de ésta versión una de las mejores opciones para Le sacre. Además de que Inbal destaca en forma impresionante durante toda la obra, especialmente en el sacrificio, los instrumentos de percusión.

Fuertemente recomendado.

Stravinski: Le Sacre du Printemps; Pétrouchka
Average customer rating:
Stravinski: Le Sacre du Printemps; Pétrouchka
Inbal , and Philharmonia Orchestra
Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B00004VKTU
Release Date: 2002-08-12

Tracks:

Petrushka - Part I "The Shrove-Tide Fair"
Petrushka - Part I "The Crowds"
Petrushka - Part I "Russian Dance"
Petrushka - Part Ii "Petruska's Room"
Petrushka - Part Iii "The Moor's Room"
Petrushka - Part Iii "Dance Of The Ballerina"
Petrushka - Part Iii "Waltz" (Ballerina And Moor)
Petrushka - Part Iv "The Shrove-Tide Fair" (Near Evening)
Petrushka - Part Iv "Dance Of The Peasant And The Bear"
Petrushka - Part Iv "The Masqueraders"
Fireworks (Feu D'artifice), Fantasy For Orchestra, Op. 4
Rite Of Spring - Part I, "Adoration Of The Earth" "Introduction"
Rite Of Spring - Part I, "Adoration Of The Earth", "The Augurs Of Spring" - "Da
Rite Of Spring - Part I, "Adoration Of The Earth", "Ritual Abduction"
Rite Of Spring - Part I, "Adoration Of The Earth", "Spring Round Dances"
Rite Of Spring - Part I, "Adoration Of The Earth", "Games Of The Rival Tribes"
Rite Of Spring - Part I, "Adoration Of The Earth" "Procession Of The Wise Elder"
Rite Of Spring - Part I, "Adoration Of The Earth" "Adoration Of The Earth" - "Th
Rite Of Spring - Part I, "Adoration Of The Earth" "Dance Of The Earth"
Rite Of Spring - Part Ii, "The Sacrifice" "Introduction"
Rite Of Spring - Part Ii, "The Sacrifice" "Mystic Circles Of The Young Girls"
Rite Of Spring - Part Ii, "The Sacrifice" "Glorification Of The Chosen Victim"
Rite Of Spring - Part Ii, "The Sacrifice" "Evocation Of The Ancestors"
Rite Of Spring - Part Ii, "The Sacrifice" "Ritual Of The Ancestors"
Rite Of Spring - Part Ii, "The Sacrifice" "Sacrificial Dance"

Track Listings:

Track Listings

track listings

Track Listings

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