Ever since its scandalous 1913 premiere, the orchestra repertoire wouldn’t be complete without Igor Stravinsky’s Le sacre du printemps (The Rite of Spring). The Royal Concertgebouw Orchestra archive alone lists 118 performances since 1924, when Pierre Monteux, conductor of the Paris premiere, led the orchestra. In 1926 Stravinsky himself conducted the RCO in the Sacre twice on one day to much acclaim and since Eduard van Beinum all RCO chief conductors have performed Le Sacre. To this already impressive list, Daniele Gatti has now added his brilliant interpretation.
Four years before his death, in 1914, Debussy himself led the Concertgebouw Orchestra in his Prélude à l’après-midi d’un faune and was met at the stage door by an applauding crowd after the performance. Stravinsky made his first guest appearance with the orchestra in 1924, after which he returned regularly. He conducted his Sacre twice in a single day in 1926 to long and loud ovations.
Recorded live at Concertgebouw Amsterdam on 11, 12 & 19 January 2017
TracklistPlease note that the below previews are loaded as 44.1 kHz / 16 bit.
Total time: 00:34:14
Horus, Merging Technologies
Pyramix, Merging Technologies
Neumann and Schoeps with Polyhymnia custom electronics
|Original Recording Format|
Recorded Live at Concertgebouw Amsterdam on January 11, 12 & 19, 2017
Pyramix, Merging Technologies
|Recording Type & Bit Rate|
Grimm Audio and B&W Nautilus speakers
|Release Date||January 29, 2018|
With Le Sacre du Printemps Gatti takes a fairly traditional approach to tempi in the score, but that does not imply complacency – he is rhythmically very alert.
The famous opening bassoon solo, along with its clarinet and horn counterpoint, is up to the high standards from these sections heard all through the evening. The ‘Dance of the Adolescents’ is fast and balletic and the players shape its solo moments convincingly.
The solo horn at Fig. 25 is really excellent, observing the mezzopiano and subsequent piano markings. Le Sacre should often sing as well as dance, as it does here. Gatti does not, as say Teodor Currentzis did in his 2015 album, overdo the primeval blood sport aspects of the more violent passages such as the ‘Dance of the Earth’ that closes the first part. The eerie Largo introduction to Part Two, the most Debussian passage in the score, is poetically atmospheric, and indeed this second part is very compelling right up to the final ‘Sacrificial Dance’.
Above all Gatti is a sure guide through these demanding works – he uses no score for any of them – and the orchestra plays immaculately throughout. Many orchestral concert albums are at least an enjoyable souvenir of a live occasion. But this album has performances good enough to take it into another league.
… such beauty and unmatched quality. A truly memorable performance.
Grand and enchanting.
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