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.
My immediate reaction to Michael Miller's commentary on the Karajan centenary [Oh no! He’s not back again, is he? - May 2, 2008] was rather choleric, but I've settled down a bit since then and can write this from a relatively balanced perspective.