Why must the record
companies make outrageous claims for
their new releases. I suppose it is
all for making the release seem something
out of the ordinary so as to attract
additional purchasers. This one, for
example is advertised as the "Complete
Original Version" and the rear
of the sleeve announces "Among
the many differences between the present
recording and its predecessors is the
restoration of two long, valveless trumpets
on stage, each playing a single
note standing out above the entire orchestra.
This is a thrilling effect in all likelihood
heard for the first time since 1910
on this recording".
Having raised my expectations
for hearing something quite new and
different, I was surprised to hear none
of the promised thrilling effects. At
the very end of the ballet, however,
when in the short finale, there were
some extra trumpet notes clearly audible,
but more absorbed into the general texture
of the orchestral sound than "standing
out above the whole orchestra".
These porkies are however
quite unnecessary in the case of this
issue however, as Naxos has a superb
coupling of these two ballet scores
on this issue. Conducted by Stravinsky’s
own assistant (Robert Craft assisted
the composer in his complete edition
for Sony), Naxos need not fear competition
from other issues except perhaps Dorati
on Mercury for the Firebird (no Petrouchka
on this disc).
The sleeve announces
that Craft is in the process of laying
down a complete Stravinsky edition,
and should they all be of this calibre,
Naxos will have another winning series
on their hands. However, this issue
has not been recorded by Naxos (more
porkies) but by Music Masters and as
can be seen by the recording dates,
some time ago. Still, no matter, as
the recording quality is superb, as
is the performance with Robert Craft
coaxing out of the Philharmonia a standard
of playing that would have made even
Walter Legge happy.
Long experience with
Stravinsky’s scores makes for a Firebird
that just sounds right with tenderness
(at the beginning of the finale – Band
22) clearly in evidence, with also thrilling
virtuosity in the Infernal Dance (Band
16), two points in the score which often
act as an indicator as the health of
a performance. Look out for the trumpets
some 50 seconds before the end, you
might miss them. Avid score followers
may notice one or two other changes,
but they are minor, merely changing
the orchestral palette slightly. As
most conductors can cause greater changes
by balancing within the orchestra, I
don’t think we need to be detained further
by this aspect of this recording. One
point of note is that Craft plays the
drum bridge sections between the different
tableaux, which some conductors find
it fashionable to omit.
After The Firebird,
Petrouchka gets underway, with an anonymous
pianist clearly enjoying him or herself
enormously with the score. The performance
shows many insights into the intricacies
of the score – note the extremely romantic
portrayal of the Mountebank – (Band
24). The Philharmonia woodwind excel
themselves and one need never be concerned
that this is a budget issue.
This is a first class
issue, quite undeserving of the Bull….!!,
and very highly recommended.
John Phillips
Philharmonia Orchestra/Robert Craft. 
