Stravinsky: Rite of Spring; Fireworks; Petrouchka

Bombastic and enthusiastic-Ozawa never lets it sag. The percussion slams it all home. Wow indeed. The problem with this magnificent work is that many conductors lose steam when the slower, quieter moments occur. Some, like Boulez, seem to gear the whole thing to that low energy level. This is my favorite version-it just explodes with excitement and precision. My favorite-and I've heard them all! Oh, and PS-the PETROUSHKA? Just as definitive! Well? Go on-get it!

This was a consensus leader in a discussion I found about which versions of the Rite of Spring were the best. The other one was Bernstein's recording in 1958, but that wasn't in print so I ordered this one. I already had a version conducted by Muti, which a few people had also mentioned as being among the best. I listened to both, and I liked the Muti better -- Ozawa's version had moments where the playing style sounded specific to the 60s, sort of big band bebop (I don't know how else to describe it). That was distracting when I noticed it.The Bernstein has since been re-released, and I agree that it's a really spectacular performance and recording. I would choose it above either of the two above, although all three are excellent.

This is one of the best renditions of The Rite Of Spring I have ever heard. Something about the way this work was recorded. Ozawa is one of my fav conductors.

I have heard the "Rite of Spring" many, many times and have several favorite recordings. The one here with Ozawa and the CSO is just fine, and I have no complaints -- great music plus great sound.For me the real star of this disc is "Petrouchka". I don't see how the playing of this wonderful music could be much better, and the sound quality is also excellent. I had not heard this music for many years, and had forgotten how good it is.If you have been away from "Petrouchka" for a while, or have never heard it (hard to believe), you will not be disappointed with this recording.

First, this is an excellent recording of the Rite. You start there. Ozawa and the Chicago Symph provide the most amazing interpretation and performance. Unquestionably one of the great compositions in music. Along with the wonderful sonic impression of the recording, you also have the breathtaking power and depth offered by precision playing by these fabulous musicians. I've been waiting decades for this version(missed it the first time around).

The Chicago Symphony plays The Rite with explosive energy. The recording pushes your stereo system to the limit. Highly recommended.

Thanx!

One of my favorite classical pieces...TY.

This disc contains recordings from early in Ozawa's recording career made in 1968-9. The original analogue recordings have been remastered using the latest digital technology that needs to be described before judgement is then made...........................Optional technical note:The mastering at 24 bits (dynamic range) and 96 kHz (frequency range) may need some explanation to be more fully understood. Every time one bit is added, the stored information doubles. Early digital recordings were made on digital recorders with only 16 bits and 48 kHz of potential information. So taking 16 bits as a notional starting size of one piece of information the following upgrade occurs:16 bits=1; 17 bits =2, 18 bits =4, 19 bits = 8, 20 bits = 16, 21 bits = 32, 22 bits = 64, 23 bits = 128, 24 bits = 25. Mathematically therefore 24 bit processing will contain 256 times the stored information. The same is true of visual information. An 8 bit jpeg file with a fixed range of 240 colours is far inferior to a 16 bit raw or tiff file giving 61,440 colours. This difference is not possible to detect on a camera phone but is easy to see on a medium or large print with all the subtle extra shadings being very visible.Latest research throws doubt on whether this extra information can be heard. With discs played back on reference equipment such as mine (the equivalent to a large print image), the differences can always be heard with the greatest differences being regularly apparent on the oldest recordings. These observations are made as I hear them following on from direct comparisons made between each earlier and re-mastered disc as reviewed. Readers using different playback equipment may have different listening experiences........................The result on this disc is the expected increased 'presence' with added internal clarity and detail plus dynamic and frequency response compared to the original CD releases.In addition to all of the above there is also the matter of playback levels. This disc, like others in the series, has been set at an unusually high playback level. This is something of an own goal as it may easily be uncomfortably loud in domestic circumstances. The obvious answer is to turn down the volume, I would suggest by by at least 4 decibels, and then the full range of the remastering can be better appreciated with all the advantages that are explained in the previous paragraphs.As regards the performances, they are generally delivered at a brisk tempo, but not so much that there is any sense of undue hurry or technical distress for the players. The technical level of the playing is outstandingly accurate and the nature of the 'interpretation' is to produce excitement through forward pacing, particularly at the conclusion of each part. This makes sense especially at the points in both ballets where death is the final act.Of the two ballets, Petrouchka is the less driven and this is also appropriate. Solo instrumental playing is a feature of the writing and there are fine examples of solo woodwind, trumpet and piano, the latter being the playing of Michael Tilson-Thomas. The concluding piece, Fireworks, is an early work and is simply an orchestral rendition of the effect of a fireworks display and is a suitable 'encore' to the disc.This is a spectacular disc and shows all the participants off to good advantage. The sound is forward and detailed but needs to be played at a reduced playback level to more fully appreciate its quality in a domestic environment.I would suggest that, of its type, this is a successful disc. There are other ways of delivering both ballets of course which will be equally effective for many collectors, but this disc works very well on its own terms. As such it deserves to be a serious prospect for purchase.

This disc presents an inspired coupling of two extraordinarily fine recordings by Ozawa in his Young Turk days before he got too comfortable. He has two of the finest American orchestras at his disposal playing with fire and virtuosity, preserving remarkable accuracy and beauty of tone - though not too much in the case of the "Rite" - despite the freedom and propulsiveness of these interpretations. A young Michael Tilson Thomas is just wonderful as the pianist in "Petrouchka" in a performance which triumphantly captures the peculiar, mawkish charm of the score.This is not the only way to play the "Rite of Spring"; Gergiev's more massive and detailed approach also pays off but this account will leave you thrilled, breathless and disturbed; Ozawa's faster tempi and hell-for-leather élan come as close to as criminally graphic a representation of ritual murder in music as you are likely to hear. Stravinsky himself is more "measured" (hardly the word for such a piece, I know) in his account and I am conscious of Ozawa sacrificing some orchestral and instrumental effects, such as how the last crashing discord is delivered, to sheer bludgeoning impact - but I love it. The sound quality and dynamic range are stunning for the era.

Great recording ....... Full of energy ....... I suppose there could be better ...... Too many to listen too and I'm not an expert ..... Last bought a copy of these works in the 80"s on vinyl but my HiFi system is a lot better nowadays ....... So the cd is fine in it's limited way.

I have 8 renditions of Stravisnky's Rite in total and now I can finish my search: I've found one I am completely happy with. It has the seething raw energy that the piece deserves and delivers it in a more controlled manner (in my opinion) than Bernstein's celebrated 1958 recording. Brilliant exhilarating stuff.

The best performance of a top masterpiece!