Igor Stravinsky
Le Sacre du Printemps
Part I: L 'Adoration de la Terre
Introduction
Les Augures printaniers
Jeu du rapt.
Rondes printanières
Jeux des cités rivales
Cortège du sage: Le Sage
Danse de la terre
Part II: Le Sacrifice
Introduction
Cercles mystérieux des adolescentes
Glorification de l'élue
Évocation des ancêtres
Action rituelle des ancêtres
Danse sacrale (L'Élue)
Igor Stravinsky, conductor
The Orchestre Symphonique (of Paris)
Recorded May 7-10, 1929
in the Théâtre des Champs-Élysées, Paris
This recording is fully restored to its original 1929 specs.
Igor Stravinsky revised the Score for "Le Sacre" in 1929, and published the present recording in that same year. Not yet resigned to the work as a purely concert piece, he retained elements of musical primitivism from the original ballet score; ideas he would abandon in later revisions.
When checking our prior post of this recording we discovered that the original transfer was not made at the correct rollover setting, and none of the prior issues we could find actually were.
We decided to address this issue and remaster at the original rollover spec and gain structure.
Footnote: Stravinsky was known to hum and grunt during performance, listen for this in the "Sacrificial Dance", that's him.
By the way, prior restorers can hardly be faulted for their efforts; this is a lost art which has no equivalent in modern recording technology.
The 2024 Restoration:
Following a chain of thought we are revisiting this recording in 2024 from our original restoration files. It has not only been rescaled to the original acoustics with more accuracy, but has also been reshaped to give a clearer sonic image and reduce microphonic artifacts. This turned out to be a very good idea. By removing artifacts and increasing acoustic balance the sonic confusion is greatly reduced, allowing greater orchestral detail and a significant increase in overall presence. The "Dead Spots" have also been revisited and removed.
It is worth noting that bringing out more clarity also brings the original noise floor into greater detail. This has not been removed because it is part of the actual recorded sound. The advantage is that the listener can now clearly distinguish between what was actually in the room and the recording system itself.
We are constantly amazed at just how good these recordings from the 1920s actually are.
Field Acoustic Restoration (2024): Paul Howard
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