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Stravinsky Conducts Stravinsky: Petrushka / Le Sacre du Printemps

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1. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): Tableau 1: The Shrove-tide Fair. Beginning
2. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): Tableau 1: The Shrove-tide Fair. The Crowds
3. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): Tableau 1: The Shrove-tide Fair. The Charlatan's Booth
4. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): Tableau 1: The Shrove-tide Fair. Russian Dance
5. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): Tableau 2: Petrushka's Room
6. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): Tableau 3: The Moor's Room. Beginning
7. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): Tableau 3: The Moor's Room. Dance of the Ballerina
8. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): Tableau 3: The Moor's Room. Waltz (Ballerina and Moor)
9. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): Tableau 4: The Shrove-tide Fair (near evening). Beginning
10. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): Tableau 4: The Shrove-tide Fair (near evening). Dance of the
11. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): Tableau 4: The Shrove-tide Fair (near evening). Dance of the
12. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): Tableau 4: The Shrove-tide Fair (near evening). Dance of the
13. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): Tableau 4: The Shrove-tide Fair (near evening). Dance of the
14. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): Tableau 4: The Shrove-tide Fair (near evening). The Masquerad
15. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1947 version): Tableau 4: The Shrove-tide Fair (near evening). Conclusion (P
16. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra: Part 1. The Adoration of the Earth. Introduction
17. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra: Part 1. The Adoration of the Earth. Dances of the Young
18. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra: Part 1. The Adoration of the Earth. Mock Abduction
19. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra: Part 1. The Adoration of the Earth. Spring Round Dance
20. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra: Part 1. The Adoration of the Earth. Games of the Rival T
21. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra: Part 1. The Adoration of the Earth. Procession of the Wi
22. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra: Part 1. The Adoration of the Earth. Adoration of the Ear
23. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra: Part 1. The Adoration of the Earth. Dance of the Earth
24. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra: Part 2. The Sacrifice. Introduction
25. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra: Part 2. The Sacrifice. Mystical Circles of the Young Gir
26. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra: Part 2. The Sacrifice. Glorification of the Chosen Victi
27. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra: Part 2. The Sacrifice. Summoning of the Ancients
28. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra: Part 2. The Sacrifice. Ritual of the Ancients
29. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra: Part 2. The Sacrifice. Sacrificial Dance (The Chosen Vic

Average customer rating:

Holy Moly

It's insane that I am only hearing this recording now. I have several recordings of Petrouchka and the Rite of Spring, favorites of mine since I first heard them when I was young. Somewhere along the line I had been told that Stravinsky was not the best interpreter of his own works. Even here the Amazon blurb mentions his 'limitations with a baton' or something to that effect in its opening sentence. So, wanting to avoid that letdown and also knowing that I have grown accustomed to a recording I especially love (Bernard Haitink 1973), I never looked into these "old" recordings.

Ignore all that!! These are great recordings! Look at the 5 stars of these reviews. Get it! It will blow you out of your chair. And that's not to say either piece lacks the subtlety it requires in the less bombastic sections. Just fantastic. Thanks to the reviewers here who steered me to this CD.

Incredible!

Fire and energy and control. Refreshing. Energizing. In this case, it is true that the master knows best. Won't need that coffee in the morning - this will do just fine!

Stravinsky Delivers His Compositions His Way

It's very special experience to hear a composer conduct his own compositions. Sometimes it works and other times it doesn't. Igor Stravinsky proved to be one of the best "composer conductors" yet. The main reason I can think this works so well is because his music was so unique. It's certainly hard to describe his music to people and put it on paper, but his style was centered around a very "up front" instrumentation and almost jagged or cut up rhythmic movements that took his pieces to very unusual places sonically.

Simply put, Stravinsky isn't for everyone. I liked him the first time I heard this performance of "Petrushka." This is such an excellent piece of music. I'm sure when he composed it, it was very innovative for its time. "The Rite Of Spring" is also performed here and gets a great reading from the man himself.

The Columbia Symphony Orchestra do a fantastic job handling Stravinsky's music. If you love this man's music, then you should definitely acquire these.

The great thing here is the stark, frightening, powerful 'Le sacre'

Both of these recordings date from 1960 when the composer was 77, young enough so that there is no falling off in energy and propulsion. Le sacre was recorded first, in January, with a New York-based Columbia Sym. Orchestra. Petrushka was recorded the following month in Los Angeles with a different Columbia Sym. Orchestra -- this name always signifies a pickup group of freelancers and symhony musicians. Listening to this original Sony CD and the later remastering for their "Original Jacket" series, I hear little difference, except that Petrushka sounds brighter on top (too bright if you turn the volume up), so there's no great urgency to throw away the older version.

I am not fully convinced by Petrushka, done in the lavishly orchestrated 1911 edition, which calls for a very large orchestra. Here, the strings sound thin, especially cellos and basses. The playing is often blurry in massed tuttis. Stravinsky conducts in his usual angular, crisp way, without rubato and generally at a fast pace. As a result, he misses many opportunities for lingering rubato and dramatic contrast. This reading moves quickly from event to event, which also reflects, I think, the composer's limited baton technique. His reputation as a conductor was never high, so it's hard to know what's intentional and what isn't. Petrushka has been recorded by so many great conductors that one could prefer any number to this one (Bernstein, Abbado, and Giulini come immediately to mind for me). Still, there's lots of vigor and exhiliraiton on display here, and you may enjoy the chilly nervousness that Stravinsky cloaks the music in.

The composer's intrpretation of Le sacre comes closer to being indispensable, given the work's unqiue status among modern masterpieces. One craves to know how the composer himself felt, and to that end, this is a reading that above all is frightening in its starkness and absence of softening sentiment. Other versions are compelling; this one digs in with surgical claws. The recorded ambience is more open, the miking more distant than in Petrushka; there's no added brightness on top. (On my system Le sacre was two decibels lower in volume as well.) There is no indication if we are hearing the original or revised score, but I hear fewer differences than between the two Petrushkas.

Nor can I say why Stravinsky has suddenly become a better conductor. Is it due to the excellene of the New York musicians over the L.A. ones? However it my be, the crispness and precision here are impressive, and one gets the feeling that every spectral nuance intended by the composer came out in the performance. There have been dozens of spectacular Le sacres since 1960, but this one is recorded so well and makes such a haunting impression that it tanks as close to number one as the composer's versions ever get. In my experience, only The Firebird, The Rake's Progress, and his riveting recording of the three symphonies are this authoritative.

A Must-have recording

I never understood why conductors have to make such a complicated hash of these pieces.
If you like these pieces, then you are in for a treat. Simple, clean approach with no fuss, just brilliant music that makes so much sense when played right.