Simon Rattle - Stravinsky: Firebird - Import CD

Credits:

Simon Rattle

Description:

[Rattle’s Third Complete Recording of “The Firebird.” The Bavarian Radio Symphony Orchestra’s polished performance and Rattle’s commentary are not to be missed!] Since taking up the post of principal conductor of the Bavarian Radio Symphony Orchestra, Rattle has continued to release recordings of his signature works. Stravinsky is one of his signature composers, and when it comes to *The Firebird*, he is committed to recording the complete work rather than the suite version. He has previously recorded it with the City of Birmingham Symphony Orchestra (1987) and the London Philharmonic Orchestra (2017), and there is a 2005 live performance with the Berlin Philharmonic available on video. It seems Rattle’s interpretation was largely established at the time of his first recording, and while no major changes are apparent, a closer listen reveals that his characterization and expression of each individual movement have become even more refined. This seems to reflect Rattle’s skill in fully drawing out the orchestra’s ensemble capabilities, the technical prowess of the soloists, and their individual timbres. The skill of the Bavarian Radio Symphony Orchestra and its principal players goes without saying, but what deserves special attention on this album is the crystal-clear sound quality achieved at the Isar Philharmonie—a venue renowned for its acoustics—thanks to a recording process that spanned six days, including rehearsals. Although the Isar Philharmonie was originally built as a temporary venue while the Gasteig was undergoing renovations, thanks in part to the acoustic design by Mr. Toyoda of Nagata Acoustics, it maintains excellent balance even during performances by large orchestras; the sound remains clear even at high volumes, and no details are lost. The Bavarian Radio Symphony Orchestra’s lustrous tone is captured here as well. The solo passages heard at key moments—particularly the virtuosity of the wind section—are superb, and the vivid color and sheer power of the percussion’s forceful strikes and the orchestra’s full-scale climaxes are truly breathtaking. This CD also includes the audio from the “The Firebird” episode of “Discover Music with Simon Rattle,” one of the Bavarian Radio’s online video series (not yet available as of late August). In the video, Rattle speaks in simple English, introducing the composer and the work, as well as explaining key points of the orchestra’s sound-shaping process, interspersed with rehearsal footage. Regarding the complete version, he remarks, “The reason I love this version so much is that it seems ten times more colorful than the later, more practical version (i.e., the suite version).” “It’s certainly much more difficult. The orchestra has performed this piece countless times with Mariss Jansons, and we’ve always given wonderful performances. However, he specialized in the suite version and, for some reason, had no interest in the full-length ballet version. “Because of that, this time we all had to temporarily set aside everything we’d played before,” he says passionately. When discussing the horn solo, he remarks, “I think we’ve performed *The Firebird* 15 times this season, and Carsten (the horn player) has made me cry 15 times.” “What he does in those final two measures isn’t something that can be taught. That change in tone color—it’s a breathtaking horn performance,” he praised. The interview offers fascinating and heartwarming insights into the essence of Rattle’s interpretation and his relationship with the orchestra. The booklet does not include a transcript. *The Japanese edition includes a commentary by Stravinsky scholar Mai Ikehara and a Japanese translation of Nahum Rattle’s commentary by Nahoko Goto. Naxos Japan