These are live performances, an important distinction in a heavily crowded market of Stravinsky’s “Le Sacre du printemps” (”The Rite of Spring”). Many astonishing versions have seen the light of day in the last decade (some linked below), and most of them giving an ideal, transparent studio recording, with closely miked orchestra sections and purposefully dryish acoustics. For that reasons veteran listeners of this piece will need a few moments to adjust; It’s an orchestral sound one hear on a good sit in a resonant concert hall, not the small studio.
The dissonant chords in “Les Augures printaniers” (track 2) has less “bite” than closer recordings, but the playing of the string is weighty, full and projected with a backbone. The wind section gives a great sense of uncontrolled euphoria at the end of the introduction, a shame though of the abrupt pause before the contrabassoon re-enters (Track 1, 03:00). In his own marvelous recording with the “Columbia Symphony Orchestra (many members of which were from the New-York Philharmonic), the composer clearly wanted the contrabassoon to emerge slowly from the crowded orchestral layers. The New-Yorkers and conductor are at their best in the rhythmically intensive movement, one of which is the “Glorification de l’élue” (track 11). The movement is so effective perhaps due to the concentrated stillness inherited in the playing of the introduction to part 2.
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All in all, a successful version that explains the high praise given to this concert series from September–October 2018, van Zweden’s first as the newly appointed Music Director. It’s a big, substantial performance of the ballet, using what sounds like the full sources of the New-York Philharmonic’s strings section, a little reminiscent of Michal Tilson Thomas’ impressive version with the San Francisco Symphony. For a more transparent, lean and “punchier” accounts, Teodor Currentzis’s (Sony) and Andrew Litton (BIS) are most impressive, each with his own approach. Stravinsky’s own version is a must in any collection, and not just for authenticity shake.
Stormy La Mer
Debussy’s “La Mer”, which follows, is not less successful. With gorgeous playing from the wind players (first flute and oboe – take a bow) and lovely accompaniment from strings and harp, we have a performance at the highest level imaginable. It’s a more outwardly, warm performance than, say, the famous Haitink’s Concertgebouw version. The sea, so to speak, is choppier, the intensity more pronounced, yet orchestral textures remain extraordinarily multilayered. Again, a nice addition to a crowded catalog.
With these two successful accounts, it’s clear van Zweden and the NY Phil have established a good rapport. Interesting to see what this partnership will bring us next.
Stravinsky – Le Sacre du printemps (“The Rite of Spring”)
Debussy – La Mer
New York Philharmonic
Jaap van Zweden – Conductor
Decca Gold, CD 002969002
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