I well remember how sensational the eardrum-searing clarity of these recordings seemed when they first appeared over a generation ago, and if you think that modern advances will have made them sound pallid by comparison just try the beginning of the final scene of Petrushka. Not many modern readings tell you so precisely how many different things are happening in Stravinsky's orchestra at this point, and although Dorati's very fast tempos in The Rite sometimes militate against a comparable clarity, the recording itself obscures nothing. There is, to be sure, a sense of everything being in close-up, with not much depth to the sound, and this is no doubt the reason why the upper strings glare rather; there is no lack of a sturdy bass.
The performances have worn less well. Dorati's way of achieving accuracy was to be extremely careful about precision of attack. These are staccato performances, on the whole, tinglingly nervous in their better moments, brutal at others, and although that adjective isn't an inappropriate one for a good many pages of The Rite, a quality of ruthless efficiency pervades even the introduction of Part 2 (taken at a restless tempo, it sounds gawky). That very efficiency, in fact, robs the music of some of its power; a rather restricted dynamic range doesn't help. Price, of course, is a consideration, but if your main interest is The Rite of Spring it has to be said that all three versions singled out for special praise by MS in his survey of current versions last September (page 30) are now available on medium-price labels (in his order of preference they are Riccardo Chailly, Sir Charles Mackerras and Eliahu Inbal). For Petrushka my current recommendation would be Simon Rattle—which happens to be coupled with a much better Rite of Spring than Dorati's.'