This recording of two
major Stravinsky works follows Jonathan
Nott’s recent Janáček
effort which received a mixed review
here from Evan Dickerson. I have not
heard that recording, but I must say
that Nott shows a real affinity for
Stravinsky. I was also very impressed
with the disc of Ligeti orchestral works
he made with the Berlin Philharmonic
a few years ago for Teldec. Of course,
he has much more competition with these
Stravinsky pieces, especially the Rite
of Spring. Thus there would have to
be something special about these performances
to make them recommendable, and indeed
there is.
From the very beginning
of the Rite you know you are in for
something rather special. I don’t think
I have ever heard the opening bassoon
solo played more beautifully. It is
not that it is just technically perfect.
It has a warm, even sensuous quality
that shows the influence of Debussy
more than I can remember from any other
performance. Although Nott in no way
shortchanges the violent aspects of
the score, it is the quieter, more atmospheric
parts that remain most with the listener.
His overall timing is on the slow side.
In fact, of the recordings I used for
comparison, only Gergiev) is slower
and only by 30+ seconds. However, Gergiev’s
account is one of great extremes that
go way over the top for me. John Phillips
in his review of that recording found
much more to like than I do. Nott’s
conception, on the other hand, is all
of a piece and is convincing from beginning
to end.
The recording, itself,
is perfectly good — although I have
heard it in only two channels — without
being spectacular and the Bamberg Symphony
performs very well. But there are some
balance peculiarities. Woodwinds and
strings are often heard to greater advantage
than the brass — except for the lower
brass. The trombones and tuba are terrific
as is the percussion. The wallops from
the bass drum are gut wrenching! However,
the horns in particular need to project
more. An especially noticeable instance
of this comes near the very end of the
Sacrificial Dance, at 4:03-4:12, where
the horns have the melody and can normally
be heard above the strings. Here they
are almost completely covered and you
are aware only of the accompaniment.
I must emphasize, though, that these
are minor deficiencies in comparison
with the performance as a whole.
Even if I prefer a
more exciting or savage interpretation,
e.g., Chailly or Muti, I still find
plenty to enjoy here. Nott’s performance
is different enough to make it worthwhile
as a supplement to Boulez, Chailly,
Muti, or Stravinsky himself. Stravinsky’s
account, while easily superceded in
the accuracy of the playing by any of
these others, still sets the standard
for clarity and is special in its own
right. My own personal preference is
for Chailly with the Cleveland Orchestra
on a Decca Double with several other
Stravinsky ballets. It has everything:
excitement, lucidity, virtuosity and
terrific sound. Nonetheless, when I
want to hear something more poetic,
I will put on Nott.
The Symphony in Three
Movements does not have as much competition.
My standard for this work is Stravinsky’s
own recording from 1961. This work is
not as difficult to perform as The Rite,
and the Columbia Symphony do themselves
proud for the composer. Nott is no slouch
either. As in The Rite, his tempos are
slower than Stravinsky’s but his overall
timing is only a little more than a
minute longer than the composer’s. The
difference is in the interpretation.
Stravinsky emphasizes the forward thrust
of the work, while Nott is weightier
— more vertical, if you will. Nott also
does particularly well, not surprising
from his interpretation of the Rite,
in the light and graceful Andante
second movement. I did not notice any
problems with the sound for the Symphony.
It is well balanced throughout.
One further comment
concerns the pairing of these two works.
I have never considered the Symphony
in Three Movements one of Stravinsky’s
strongest works. Composed near the end
of his neo-classical period and during
the Second World War, the piece does
not hang together all that well. It
seems that Stravinsky has one foot in
neo-classicism, while the other in world
of The Rite of Spring. The Andante
seems to me to be the most convincing
part. Stravinsky originally composed
it to accompany the apparition of the
Virgin in a film version of the Song
of Bernadette, whereas the music
in the outer movements was influenced
by wartime newsreels. In many ways,
though, the Symphony seems like a throwback
to the Rite and thus makes an apt coupling.
It is to Nott and the Bamberg Symphony’s
credit that one’s interest is maintained
throughout the work.
Leslie Wright
Bamberger Symphoniker/Jonathan Nott 
TUDOR
7145 SACD [56:54]
