Stravinsky’s own recorded performances work best where the ensembles involved are of the front rank, which is why his American sessions – those involving, say, the New York Philharmonic, Cleveland, Chicago Symphony and ‘Columbia Symphony’ orchestras – so often tip the critical scales in their favour. Having Robert Craft on hand to assist was another sure bonus, and of course Stravinsky’s conducting expertise grew with the years. Least impressive here is the suite from L’histoire du soldat, a sloppy affair and no match for the later recordings, especially the stereo version with Israel Baker as solo violinist.
I have always enjoyed Samuel Dushkin’s recording of the Violin Concerto (its purity of tone and gipsy-style candour are especially appealing), but by far the best item on the CD is Jeu de cartes, a stylish account of a fresh-minted score – though even there, executive imprecisions are noticeable.
Mark Obert-Thorn’s transfers are among the best we’ve had but, viewed overall, give me the later Stravinsky sessions every time. There is a mass of mono post-war material that RCA and Sony should set about reissuing (some of it from 78s, some from tape), but until they do, Sony’s priceless stereo legacy remains the prime recommendation among available Stravinsky-conducts-Stravinsky releases.'