Rite of spring
Premiering in 1913, The Rite of Spring might be considered the most important single moment in the history of 20th century art, and its influence continues to be acknowledged across today’s cultural landscape. Experimentation in the arts at the turn of the 20th century embodied ideas, in aesthetic and moral terms, of rebellion and an insurrection from central authority and The Rite of Spring became a focal point and catalyst for this movement.
Written for the 1913 Paris season of Sergei Diaghilev’s Ballets Russes, with choreography by Vaslav Nijinsky, stage design and costumes by Nikolai Roerich, and full orchestral score by Igor Stravinsky, The Rite of Spring, is a musical-choreographic masterpiece that represents primal pagan Russia and embodies the mystery and creative omnipotence of spring. Diaghilev believed the mixture of visual, kinetic and musical elements in dance attained the ideal of Gestamtkunstwerk, a total art form superior to even opera, and sought, through the Ballet Russes, this ideal as an instrument of ultimate liberation.
My own analogy
To me it sounds like a violent weather system moving in. Like most places in the springtime it is filled with adverse weather, especially in places like the mid west where I lived for sometime.
In the Rite of Spring, the instruments represent the different elements of a storm.
Leonard Bernstein conducting the London Symphony Orchestra
Zubin Metha conducting the New York Philharmonic
Track title: Dance of the earth
In the intro there is a slight difference the horns come in sooner in the Bernstein than the Metha. Between the two that are close but there are subtle differences in timing and slight dynamics. This is more than likely a conductor preference.
And to me it seems that Bernstein knows the rite of spring more than Metha.
As far as audio quality the Metha sounds brighter than Bernstein this could be because of the room, microphones and other gear used to capture the performance.