A rewarding release that prompts a double-barrelled comparison, first with Sir Simon Rattle's identical coupling (a studio Miraculous Mandarin and a live Concerto for Orchestra), then with an older DG Boston pairing of the Mandarin suite (also under Ozawa) and the Concerto for Orchestra (under Kubelik). As to the Mandarin, first impressions suggest a gloved fist on Ozawa's part and a general softening of attack since 1975. Comparing the old with the new proves to what extent individual engineering teams can manipulate the one acoustic (in this case, Symphony Hall, Boston). DG's sound is big and resonant, with crowds of competing detail and plenty of impact. Philips favour closer balancing, with over-prominent brass (the lead trumpet tends to excessive fierceness), warmer strings and a relatively dry acoustical backdrop. In the newer recording, the ballet's opening riot is fiery but contained, with trumpets momentarily opting out (or so it sounds) at 1'03'' (compare Rattle in the same passage, i. e. at 1'07''). Then, when the chaos has cleared and the violas enter forte (1'27''), 'Ozawa 2' must bow to his more aggressive, younger (DG) self. Both versions feature beautifully drawn seduction games and fairly savage dramatic interjections, but Ozawa's chase was wilder in 1975 than in 1994 and the all-important side-drum part (a vivid source of syncopation that is all but inaudible in Rattle's otherwise superbly recorded account) is clearer on the DG version (try from, say, 18'12'' on track 1 of the DG and 5'16'' on track 9 of the Philips). Thereafter, the Suite stops dead and Ozawa 1 is no longer a consideration. From here on Rattle achieves considerable atmosphere, but at the expense of some executive precision, whereas Ozawa's crisper focusing (especially around the 'stabbing' scene in track 7) makes for greater impact. That terrible moment when the thugs hang the Mandarin from a lamp hook (track 7 at 3'28'' for Rattle; track 10 at 3'25'' for Ozawa) is impressive on both recordings, although the Philips tape yields the nastier aural snarl. Viewed overall, Ozawa is strong on sensuality – those all-pervading glissandos, the seduction games and the languidly teasing sequences that lead to the chase – whereas Rattle generates marginally more in the way of nervous tension. My current mood leads in the direction of Ozawa, but I'd be happy to live with either.
As to the Concerto for Orchestra, Rattle is still first choice, although the Bostonians' Bartokian pedigree – it was, after all, Koussevitzky who commissioned the work – guarantees a certain elan and refinement. Still, were I to choose a BSO version, I'd probably opt either for the more subtle Kubelik or an even earlier version (now on RCA Classical Navigator) under Leinsdorf. Ozawa is best where the going gets frantic (his finale is terrific, especially at the outset, and he plays Bartok's more concise original ending); but compare Rattle in, say, that moment in the ''Elegia'' where the woodwind takes up the folksy second set (such artful rubato, at 4'03'' – Ozawa is at 4'05''), or in the ''Giuoco delle coppie'', when the brass chorale has just ended and the cocky main theme returns (from 3'49'' with Rattle, 3'37'' with Ozawa) and Rattle's sense of shape (and humour) come to the fore. Ozawa's virtues are intelligence, alertness and a fine ear for detail; he also has the more virtuosic orchestra, but Rattle exhibits the greater imagination. Also, Rattle's audience is the quieter of the two.
A difficult one, this – especially if you have no particular repertoire priority. I suppose, taken overall, Rattle's disc is the more distinguished production, although I do prefer Ozawa in the last eight or so minutes of the ballet. As to mid-price options, the DG Galleria coupling of the Ozawa Mandarin Suite and the Kubelik Concerto for Orchestra provides an excellent introduction to both scores, except that by passing on the complete ballet you do miss out on at least ten minutes'-worth of top-drawer Bartok. R1 '9508002'