The special sound of the Orchestre de Paris playing in the splendid Salle Pleyel was still fresh in my ears, when the latest crop of releases from Pristine Classical arrived, offering recordings of Pierre Monteux conducting the "Orchestre Symphonique de Paris" in the Salle Pleyel itself. The most important of these extremely rare 78 sets, made between January 1929 and February 1930, is a complete Sacre du Printemps, the earliest of the seven live or studio recordings, which have been released of Monteux performances. This brings us within two decades of the historic 1913 premiere with the Ballets Russes. Monteux’s authority in this score never diminished, and the performances from the end of his life are as vital as this early effort and are still revered today. Like the later ones, this performance is marked by its flow and coherence—a complete grasp of the shape and drama of the great ballet, which give the performance a sense of unity, without compromising its angular rhythms and its vivid, often harsh colors and textures. You will never hear a Sacre more musical than any of Monteux’s recordings.
I am always delighted to attend any concert under Herbert Blomstedt, who fortunately conducts the Boston Symphony quite often, both in Symphony Hall and at Tanglewood, where he is especially valued, not only as a conductor, but as a teacher at the Tanglewood Music Center. At 82, after an impressive career as music director of several great orchestras, including the Dresdener Staatskapelle, the Leipzig Gewandhaus, and the San Francisco Symphony (all of which have been received a good deal of attention on the Review of late...look soon for a review of the partially great Dresden Ring). After Steven Kruger most perceptively reviewed his Bruckner Sixth with the San Francisco Symphony, I was lucky enough to catch up with Maestro Blomstedt in Paris, where he conducted Bruckner’s pivotal Fifth Symphony. I was also fortunate to have a brief, informal chat with him after the performance, as well as with the brilliant soloist, Olli Mustonen, who is less well known than he should be, because, like Sibelius, he spends a good deal of his time in rural Finland, enjoying family life and composing. After this concert, he was looking forward to going home to his wife and his week-old son.