Composer: Igor Stravinsky (1882 – 1971)
Works: The Rite of Spring [32.03], The Firebird Suite (1919 version) [21.52]
Performers: Oregon Symphony Orchestra conducted by James DePriest
Recorded in: Baumann Auditorium, George Fox University, Newberg, Oregon, 20-21 September 2000
Label: DELOS DE 3278 [53.56]
In the pantheon of 20th-century orchestral music, Igor Stravinsky’s works occupy a central position, not merely for their innovation but for their profound impact on the evolution of musical language. This recent release featuring the Oregon Symphony under the baton of James DePriest offers not only a glimpse into Stravinsky’s genius but also a reflection on the interpretative choices that can illuminate or obscure his intricate scores.
The Rite of Spring, perhaps Stravinsky’s most revolutionary work, is a perennial favorite among orchestras, and the Oregon Symphony’s interpretation is a testament to the ensemble’s considerable growth under DePriest’s leadership since the 1980s. The performance reveals a nuanced understanding of the score’s complex polyphony and rhythmic intricacies. The recording captures an impressive depth of sound, allowing the listener to appreciate the myriad details that often elude even the most seasoned ears. Delos’s engineering excels, with clarity and balance that enable the listener to discern the rich tapestry of orchestral color that Stravinsky so masterfully weaves.
DePriest approaches the work with a keen sensitivity to its lush orchestral palette, emphasizing the lyricism embedded in passages such as “The Mystic Circle of the Young Girls” (track 10). Here, the warm, enveloping sound of the strings evokes the romantic lineage from which Stravinsky emerged, a point that recalls the influence of Rimsky-Korsakov and the Russian nationalist tradition. However, one might argue that this emphasis on lyricism comes at the cost of the visceral, primal energy that characterizes much of the score. The performance, while undeniably well-executed, occasionally lacks the ferocity and abandon that make this work such a visceral experience. The climaxes, though dynamically impressive, do not elicit the same visceral thrill as those found in more electrifying interpretations, such as Simon Rattle’s with the City of Birmingham Symphony Orchestra, which possesses a raw, unbridled energy.
In contrast, the Firebird Suite (1919), also featured on this recording, benefits from DePriest’s interpretative choices. The opening’s mysterious hush is beautifully realized, setting the stage for the unfolding narrative with a delicate touch. The concluding apotheosis is grand and celebratory, effectively capturing the work’s transformative essence. The penultimate “Berceuse” is rendered with exquisite care, showcasing the orchestra’s ability to convey profound lyricism and emotional depth.
However, when we turn our attention to the “Infernal Dance of King Katschei,” the performance does not quite reach the fever pitch that one might expect from this pivotal moment. While the energy is commendable, it lacks the razor-sharp rhythmic drive that characterizes the best renditions. In this instance, the music feels slightly too well upholstered, lacking the raw, chaotic energy that one might expect from a piece whose very title suggests a sense of danger and turmoil. This is a subtle but important distinction; the “Infernal Dance” should feel like an eruption, and here it feels somewhat contained.
Ultimately, this recording serves as an intriguing alternative perspective on two of Stravinsky’s most significant works. While it may not stand as a definitive first choice for either score, it is a valuable addition to the discography that warrants consideration, particularly for its exceptional recording quality and the clarity with which it presents the inner workings of Stravinsky’s orchestration.
In conclusion, James DePriest and the Oregon Symphony present a commendable exploration of Stravinsky’s early masterpieces, balancing moments of lyrical beauty with the inherent dynamism of the scores. While certain interpretative choices might not fully align with the more visceral readings available in the catalog, the artistry and commitment of the performers, along with the exemplary sound engineering, ensure that this disc will find its place in the libraries of those who appreciate the intricate landscapes of Stravinsky’s music.
