Agreed and check this out kzfaq.info/get/bejne/fax3apOYq8jaf5s.html

@Alex Tejada Why so judgemental?

He's being very defensive. You'd think he feels threatened for some reason. Heavy metal is a fair description, if anachronistic. But Stravinsky was clearly out to kick ass in this one.

@Alex Tejada Actually, you are right. Comparing any western classical music, with it's history of male and white supremacy, it's elitism and it's completely outdated, ancient restrictions of limited theory can, under no view point, compare to the rich culture the americas have produced over the years. And to think that so much wonderful art has come from there, even through the hardships of colonialisation, slavery, segragation, exploitation, apropriation etc. is truly a pathetic comparison to this ok'ish piece of ballet. The artform just struggles to bring this emotion to the stage per se. It really isn't stravinsky's fault, he just was born in the wrong century, in the wrong country. But who knows, maybe some metal bands listened to his music and were inspired to do better....

@Alex Tejada agreed

Added to the strangeness

Had the pleasure of seeing Kristian Järvi with the Baltic Sea orchestra at the Elbphilarmonie, ironically also with Stravinsky, but the Firebird in that case. The whole concert was choreographed with most pieces having fluent transitions, composed by Järvi himself. It was outlandish and outstanding.

love it. like a drum corps visual, but far far far less cheesy and meatheady.

Also the Colombian Orchestra played the Rite of Spring a semitone higher than normal

He did : he only passed in the early 70's.

David Herbert (on the right, who later left for Chicago) is incredible. I’ve always loved that performance from the proms (more intense than their own video from back home). Among these, besides Orozco-Estrada (the Colombians!!!!) I thought Bernstein/LSO and Salomon/LAPO were incredible, with MTT/SFS and Gatti/Concertgebouw also particularly good among the slightly more sedate interpretations (relatively speaking).

And also very ear raping because this performance was awful

yea but stranvinsky isn’t very good as a conductor

@@camillehocde8195 : mostly due to terrible recording gear from 1929.

Thank you, I'm delighted to hear this. If you enjoy this compilation, I can also recommend this (Beethoven) one, which your students might appreciate too: kzfaq.info/get/bejne/otqqish_3rK7nmw.html

@@christianbaldiniofficial Excellent! Thank you!

Agreed!!

Yes, their ferocity was AMAZING. I've adored this piece since 1988. Violent, chaotic, abstract. I completely agree with you. Would love to see the entirety of their choreography.

@@metalheadjock3513 Yes, the visual element would certainly be an exciting additional aspect in the live concert- situation.

Yes, sir!

I think Jaap Van Zweden's rendition isn't far behind either!

those 3 were my pick as well.

The orchestral instrument of that age was what he know. Maybe, all others just run and not feel "the glorification".

Early days of audio recording directly on to a wax master. Technology in those days was limited and costly. Each performer had to be within 20 inches of the recording device. 100 musicians! Bit crowded me thinks.

Well in fact, Stravinsky was a very bad conductor, the musiciens were just completely lost because having a conductor who cannot clearly lead you in a piece that crazy is just awful

No, Stravinsky just wasn’t a particularly good conductor. There is a more modern recording by Stravinsky done in a big series with the Columbia Symphony Orchestra. Which is an interesting thing, because you see that Stravinsky does somethings very different to most renditions, particularly he spaces the music unevenly. But regarding the rendition there are multiple versions here I would not take over the Stravinsky. My personal favorite is the Les Siècles/Roth rendition.

@@TheVoitel Roth is one of the great conductors of our day

It really is! Best recording ever of TROS!

Yeh. Also Simon rattle.

I like Rattle's version very much. Clean articulation and high energy/intensity without it going overboard.

Same for me!

How can you say Stravinsky itself timing is wrong. The guy conceived the piece in thr first place. Maybe it's you that are too used with faster interpretations.

@@jackko90MI Stravinsky was an amazing composer but a terrible conductor

@@2piee He became a better one over the years, but never a great one, even for his own works. The irony of this slow 1929 performance is that later on he was always urging musicians to play his compositions at a faster tempo, crisp and dry, and complained that most conductors played them too slow. So this laggard first recording of the Rite is entirely due to the technical shortcomings of the players he had to work with. His earlier programming of the piece on piano rolls uses a faster tempo than we are used to hearing, especially in the closing Sacrificial Dance, which runs at nearly twice the speed customarily used in 20C recordings, including the composer's own! He couldnt play it as fast as he wanted to (no one could at the time) but he could program it mechanically for posterity and all top orchestras can now perform it as Stravinsky originally heard it in his head.

I consider this piece of music to be a bass drum and alto flute concerto

The youth from the two orchestras gave the most energy.

The faster the better. This part is supposed to be frenzied and chaotic.

Most cringiest performance ever

Lol, use your ears, not your eyes

@@tiekoe sure, that's what they told to the audience in the theatre lol

@UCmzNI7K3TDiyXpRLhEeAIIw I'm agreeing with you Balfour, relax haha

@@tiekoe oh sorry XD

Not the 1929 version - the orchestra is simply not up to it.

Not this early one for sure. As noted by the previous reply, the musicians couldnt handle it. Stravinsky recorded it three more times with better orchestras & better technology. But perhaps the best document of the way he originally wanted it to sound is the pianola roll he programmed in the early 1920s, only a decade after its composition, in which the basic lines are clearer, given the lack of instrumental color, and most significantly it employs a much faster tempo in the closing Dance Sacral, almost double the speed at which it was customarily played for decades, including in the composers own versions (it was challenging enough for musicians in the slower rendition). The breakneck tempo on the rolls was first adopted for performance by Benjamin Zander in his 1990 recording with the Boston Philharmonic, with truly sensational results.

They're frying. I love it!

Yes! I also noticed this.

Probably the contrary : the Rite is 100+ years old