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Double Double.(The Music)

Sensible Sound

| September 01, 2003 | COPYRIGHT 2003 Sensible Sound. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

Last time around, Tom Lyle and Ye Grumpy Olde Editor did something unusual, comparing two recordings of popular rather than classical music. Although it was fun to wander down a side road, I must confess that it certainly feels good to be back listening to orchestral music once again for this issue.

For our return to classical music, Tom and I have decided to compare two recordings of two works by Stravinsky, the 1947 edition of Petrouschka and the 1919 edition of the Firebird Suite. The recordings that we have chosen to audition are both on the Telarc label, because we thought it would be fascinating to compare what has always been regarded as an excellently recorded Telarc CD from a decade or so ago, David Zinman leading the Baltimore Symphony Orchestra (CD-80270, released in 1991), with the recent Telarc release featuring Paavo Jarvi conducting the Cincinnati Symphony Orchestra (CD-80587).

As always, TL and I have done our listening and writing completely independently. Because this is an odd-numbered issue, I will lead off with my remarks and allow Tom to have the last word.

KWN: Long-time readers will know that I have never been a big fan of Stravinsky; however, both these ballet scores are fun listening, particularly the first half or so of Petrouschka. To my mind, these works, especially Firebird, are true sonic spectacles, and I find that I am interested in the overall sound produced by any recording of them than I am in trying to compare fine points of performance. These are atmospheric pieces of music, and much of the atmosphere is created by the overall sound quality.

That said, I must say that both these recordings sound splendid. Both are rich and full-bodied, with warmth, power, and robust dynamics--certainly the qualities that Stravinsky himself would wish for in a recording (well, maybe not warmth ...)

In comparing them, I found myself impressed by both. To choose between them really is one of those win-win situations championed by Stephen Covey. You really can't go wrong with either one of these disks.

But if I stopped there, Tom would never let me hear the end of it. I guess I have to choose between them--but hey, what have I got to lose?

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Source: HighBeam Research, Double Double.(The Music)

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