The Rite of Spring recording for the Columbia label, at the same time Monteux was recording it for the HMV label. Stokowski's version followed in 1930. Stravinsky made two more recordings, in 1940 and 1960. According to the critic Edward Greenfield, Stravinsky was not technically a great conductor but, Greenfield says, in the 1960 recording with the Columbia Symphony Orchestra the composer inspired a performance with "extraordinary thrust and resilience". In conversations with Robert Craft, Stravinsky reviewed several recordings of "The Rite" made in the 1960s. He thought Herbert von Karajan's 1963 recording with the Berlin Philharmonic, was good, but "the performance is ...
The Rite of Spring uproar" which, along with the on-stage noises, drowned out the voice of Nijinsky who was shouting the step numbers to the dancers. The journalist and photographer Carl Van Vechten recorded that the person behind him became carried away with excitement, and "began to beat rhythmically on top of my head", though Van Vechten failed to notice this at first, his own emotion being so great. At that time, a Parisian ballet audience typically consisted of two diverse groups: the wealthy and fashionable set, who would be expecting to see a traditional performance with beautiful music, and a "Bohemian" group who,