Stravinsky "Rite of Spring"
Nielsen Symphony 5
Jarvi/Cincinnati Symphony Orchestra
Telarc SACD 60615

A very impressive Rite.  Immediately impressive is Jarvi's ear for
sonority and rhythmic elan; not to mention his orchestra's incredible
virtuosity.  The Cincinnati bassoonist opens the piece with a refreshingly
contoured solo in the introduction.  The woodwind-dominated dialog that
follows is unusually expressive.  Beware when the "Harbingers of Spring"
starts: those famous chugging strings aren't as loud as you might be
used to, they're heard as one would hear them in the concert-hall;
if you're addicted to unnaturally loud, close-miked strings, ala
Muti/Philadelphia/EMI, you're going to be disappointed.  Don't be.  In
the "Game of Abduction," the orchestral execution-horns and woodwinds
especially-is such that the section has an incredible sense of urgency.
"Spring Rounds" opens with sufficient groan, and when the section is
repeated with a splendidly present bass drum and gong, a revelation: one
can hear the off-beat dialog, (trombones, bassoons), quite clearly; I've
never known it was there.  The bass drum crescendo that introduces the
"Dance of the Earth".wow.  Startling.  The finale of part one is thrilling.
In surround it's so nice to hear such grand noise with such spaciousness.
A friend remarked that the proceedings were much less nerve-wracking in
surround.  The introduction to Part II is where one will hear orchestral
sonorities afresh.  The full orchestral outbursts that slither down the
scale are particularly impressive.  What I found most memorable about
the final set of dances was that they actually felt 'dance-like,' rather
than 'leviathan-like.' (Muti).  The "Sacrificial Dance" is especially
lithe, (if you can call it that); as Jarvi and his orchestra really have
a grip of the overall line, rather than simply 'nailing' each new-metered
measure.  The final upward swish of woodwind, signaling the adolescent's
death, is vivid in its expiration.

With the Rite, (and Nielsen's Symphony #5, of course), audiophiles are
going to be found drooling in ecstasy on the floors of their listening
rooms, especially those who are fetishistic about suspended cymbal decays
and little bells from the percussion section.  These moments should
silence all who believe SACD doesn't open out in the treble like PCM.
Wait until you hear the Tempo giusto mov't of the Nielsen 5th!  As I'm
*not* a Nielsen fan, I will leave it to others to discuss the artistic
merits of Jarvi's vision of the 5th.  A hearty recommendation with regards
to the Stravinsky!

John Smyth
Sacramento, CA