The record companies are marking the centenary of the 1913 première
of
Le Sacre du Printemps in some style. Universal has
already issued a box of twenty discs containing no fewer than 38 performances
from its archives plus three performances of the piano duet version
(
details).
Sony Classical is bringing out a slightly more modest set containing
a ‘mere’ ten recordings, including two by the composer
himself (
details).
In addition there have been some individual recordings issued or re-issued
and no doubt more will follow. It’s hard to think of another
piece which would attract such attention on the anniversary of its
first performance though, of course, the arrival of
Le Sacre
was a mould-breaking event in the world of ballet and before long
it had established itself as an equally significant landmark work
in the concert repertoire.
What I suspect will be EMI’s main - perhaps only - contribution
to the celebrations comes in the shape of a new recording from Sir
Simon Rattle. I think I’m right in saying that this is his fourth
audio recording of the work, the first coming from very early in his
career when he set it down with the National Youth Orchestra of Great
Britain in 1977 (began as an Enigma LP and then reappeared on ASV
and Brilliant Classics); I’ve not heard that recording, which
I doubt is still available. He recorded it with the CBSO in 1987.
I have the original CD issue and it’s since been reissued in
various collections.
Simon
Thompson and
Carla
Rees both regarded that recording highly - as do I - though
Brian
Wilson, while by no means dismissing it, felt Rattle was “a
little restrained” in the work; I know what he means. Rattle
and the Berliners recorded it in 2003 for the soundtrack of a film
and
Michael
Cookson was loud in his praises. There’s also a 2009 Blu-Ray
recording with the Berlin Philharmonic (
review).
This latest recording is taken from concert performances, as seems
to be Rattle’s wont these days.
Le Sacre is trademark
Rattle repertoire, being full of orchestral colour and requiring the
precision of balance and rhythmic clarity which are hallmarks of his
conducting style. As seems to be EMI’s way in the Philharmonie
the recording is fairly close - though not excessively so, in my opinion.
The 1987 CBSO performance was set down under studio conditions in
the Arts Centre at Warwick University and there’s more distance
between the orchestra and the listener: some may well prefer that
balance.
This new recording is most impressive, starting with sinuous, unsettling
woodwinds in the
Introduction. As Stravinsky racks up the tension
Rattle responds and by the time we get to
Jeu du rapt the music
is violent yet controlled. From 2:04 in
Rondes printanières
Rattle gets the orchestra to unleash a fearsomely pagan sound and
later on
Cortège du sage is primitive and hugely powerful.
The
Danse de la terre is, as it should be, an explosive end
to Part I.
The opening of Part II is the sort of music that Rattle, with his
famously keen ear, does so well. Both the
Introduction and
Cercles mystérieux des adolescentes are scrupulously
balanced; every detail is clarified - though with no undue highlighting
- and given its rightful place in the texture.
Action rituelle
des ancêtres starts in a very subdued but menacing fashion
and builds to a massive climax (2:25-2:44) in which the Berlin horns
are brazen. Just before this point (between1:34 and 1:43) there’s
a little, pointed fragment of tune in the violins and Rattle brings
this out excellently; he achieves the same effect, though not so markedly,
in his CBSO recording. The concluding
Danse sacrale: L’Élu
is brutal and savage, especially from 2:32.
This is a pretty considerable account of
Le Sacre. I think
there is, at times, a degree of greater urgency than was the case
in 1987 - perhaps the presence of an audience helped; perhaps it’s
the fact that an even more experienced Rattle is now at the helm of
a virtuoso orchestra. I noticed, for instance, that the last few minutes
are a fraction steadier in the CBSO recording. However, although the
Berliner Philharmoniker is, as I said, a virtuoso ensemble, the CBSO
of 1987 give a pretty good account of themselves. I’ve found
once or twice already when comparing recordings of works that Rattle
has recorded with both orchestras that the CBSO recordings are by
no means put in the shade and this is another such example. One small
point is that on the original issue of the CBSO recording it was divided
into a rather paltry seven tracks. That may have been improved on
the reissued versions but, by contrast, this new recording has fifteen
tracks.
As before Rattle pairs
Le Sacre with
Apollon Musagète
- the CBSO recording, made in 1988, used the later title,
Apollo.
Here, I think, the choice is more clear-cut. For all their qualities,
the CBSO strings can’t quite match the sheen and depth of tone
of the Berliners. The 1988 recording was also made in Warwick and
in this case I think the more distant balance rather works against
the CBSO. The Berliners are recorded more closely and this emphasises
the sheer quality of their collective sound. Rattle is, I fancy, a
touch more expansive this time - his Birmingham performance played
for 30:06. In the
Variation d’Apollon the Berlin string
principals offer poised, cultivated playing - why were they not named,
I wonder; their Birmingham colleagues were and, to be honest,
both
teams deserve to be credited. I love the graceful way the Berliners
deliver the
Pas d’action: Apollon et les trois Muses;
this is distinguished playing. Equally pleasing is the scurrying playing
in
Variation de Polymnie. Overall this is a refined and excellent
performance of
Apollon Musagète which benefits not only
from the virtuosity of the Berlin string players but also from the
fastidious ear of their conductor.
For good measure EMI add a 2007 performance of
Symphonies of Wind
Instruments. I’m not sure that this has been available on
a separate disc before, though it was included in a four-CD box of
Rattle’s Stravinsky recordings, mainly from Birmingham, which
EMI issued a while ago (
review).
It’s included here in a 2013 digital re-mastering. I remember
my first encounter with this score, fully forty years ago, at an orchestral
weekend directed by Arthur Butterworth. As a teenager I was baffled
by the piece but nowadays I hope I can appreciate a bit better its
lineage and what it’s ‘about’. This is another score
that requires great precision and, therefore, it’s meat and
drink to Rattle. The performance is pungent and meticulously balanced.
This is not a score to which I warm instinctively but I do admire
it and, short though it is, it’s a telling work in Stravinsky’s
output. It’s expertly served here.
In summary, if your prime interest is
Le Sacre and you already
have Rattle’s 1987 recording then this new recording probably
comes under the heading of ‘nice to have’ rather than
‘must have’. However, I think the recording of
Apollon
Musagète represents a definite advance. This is an excellent
disc and anyone wanting to hear Simon Rattle in Stravinsky should
certainly hear it - as well as his fine recording of
Symphony of
Psalms (
review).
John Quinn
Masterwork Index: Le
sacre ~~ Appollon
