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