Composer: Igor Stravinsky
Works: Rite of Spring, Alexander Scriabin: Poem of Ecstasy, Op. 54
Performers: Kirov Orchestra, Valery Gergiev (conductor)
Recording: Live at Festspielhaus, Baden Baden, 24-27 July 1999 – DDD
Label: PHILIPS
Igor Stravinsky’s “Rite of Spring” remains an indelible mark in the landscape of 20th-century music, known for its seismic impact at its premiere in 1913. The work captures the elemental forces of nature and human ritual, a stark departure from the romanticism that preceded it. Stravinsky pushed orchestral boundaries, employing primal rhythms and dissonance to evoke visceral reactions. In this 1999 recording with the Kirov Orchestra under Valery Gergiev, we witness a performance that seeks not just to execute the score but to embody its raw, untamed spirit.
The interpretation is marked by a palpable energy that transcends the merely technical. Gergiev’s leadership cultivates a fierce unity among the musicians, each player responding to the rhythmic nuances as if they were one organism. The slight rhythmic quirks, often a source of criticism in performances of this piece, are embraced here, lending an air of spontaneity that feels organic rather than contrived. This is particularly evident in the iconic “Sacrificial Dance,” where the orchestra navigates the intricate interplays of rhythm and texture with a fervor that is both electrifying and terrifying. The phrasing of the opening “Augurs of Spring” is incisively articulated, each woodwind voice contributing to a tapestry of sound that is at once chaotic and structured, reflecting the duality inherent in Stravinsky’s vision.
The recording quality merits commendation, presenting a soundscape rich in depth and clarity. The bass drum, as noted, resonates vividly, almost as if it were in the listener’s own space, enveloping the audience in the ritualistic fervor of the music. Each instrument is distinct yet part of a cohesive whole, a testament to the engineering that captures the live performance’s immediacy while ensuring that clarity is never sacrificed for power. It is also worth noting the silence that follows the final notes; while some might speculate on the lack of audience reaction, it serves, paradoxically, to enhance the impact of the performance, allowing the listener to absorb the conclusion of such a monumental work.
In juxtaposition to Stravinsky’s groundbreaking score, Alexander Scriabin’s “Poem of Ecstasy” provides a fascinating contrast. Composed in 1907, this work meanders through lush orchestral textures and a romantic idiom that feels markedly different from the starkness of “Rite.” Gergiev and the Kirov Orchestra navigate the work’s complexities with finesse, though one might find the thematic material somewhat lacking in memorability. The orchestration is splendidly executed; the strings soar with a romanticism that complements the woodwinds’ ethereal lines. Yet, one cannot escape a sense of indulgence, a moment where the expressive potential feels diluted by the absence of compelling melodic development. Nevertheless, it is performed with a conviction that showcases Gergiev’s interpretative prowess.
This recording of Stravinsky’s “Rite of Spring” stands as a formidable interpretation that captures the primal force of the music with a vibrancy that is often elusive in modern renditions. The Kirov Orchestra, under Gergiev’s insightful direction, delivers a performance that resonates with both power and precision, eclipsing many notable recordings from the past. The “Poem of Ecstasy,” while less compelling, is nonetheless a worthy companion piece, performed with a level of artistry that reflects the orchestra’s capabilities. Together, these works offer a dynamic exploration of early 20th-century Russian music, making this recording an essential addition to any serious collection.
