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As
one explores the musical realm of Igor Stravinsky, one finds a musical
genius who often transcended his own style and musical language.
He championed tonal composition in the first half of the 20th century
while others such as Arnold Schoenberg developed atonalism. Stravinsky's
achievments allows us to perhaps regard him as the Bach of tonality's
music at the end of a great era, or the Picasso of music at the
beginning of another.
From
the 18th Century harmonies in Pulcinella to the distinctive
individuality in Le Histoire du soldat, the jazzy Ebony
Concerto for Benny Goodman, the quirky Circus Polka for
Wind Band (composed for a young elephant) to the intensity of the
Rite of Spring, one can
hardly find another composer in the canon that can boast of such
versatility.
In 1956 he withdrew his refusal "to abdicate the rule of my ears"
and set out to explore atonality and serial composition, by then,
an established form. In his later works, such as the Canticum
Sacrum and Elegy for JFK, he challenged himself to explore
new sounds and opportunities in atonalism. However, these works
never became as great as his tonal masterpieces.
What
was consistently "Stravinskian" was his innovations in rhythm and
the raw energy that prevails in all his music. His sense of drama
thus made him most suitable to write for the stage and that is perhaps
why his best compositions are amongst his ballets and stage works.
The
Firebird Suite is one such ballet work, commissioned by Diaghilev's
Ballet Russe, that has found immortality on the concert stage as
well. In fact, this was the work that started the collaboration
that gave the world Petrushka and The Rite of Spring
as well. Its immense popularity resulted in the publication of three
suites, the first in 1911 for a huge orchestra, another in 1919
(the one featured in the recording) and a final one in 1949, which
includes other dance numbers from the ballet.
The
story of The Firebird is based on two Russian fairytales.
The Firebird is the embodiment of goodness, decked in brilliant
colours and splendour. Kashchei is the green-taloned ogre who is
the representaition of evil. The two vie for the soul of the young
prince Ivan Tserich who desires to free the 13 princesses from the
demon's clutches with the help of the Firebird.
The
music is in seven parts but is usually performed in four sections.
The Introduction is dark and eerie, picturing our Russian
prince wandering through a gloomy forest. In the first 30 seconds
or so in this recording, the Israel Philharmonic Orchestra observes
a strict pppp that is almost inaudible. My advice is: do
not turn up your hi-fi to hear these beginning chords clearly or
you will be in for a shock in a couple of minutes' time. Bernstein
has no qualms here in employing the full resources of the orchestra
in generating the atmosphere of mystery that introduces this fantasy.
Right:
Karsavina as the Firebird in Paris,
1910.
Just
as the listener is lulled into the depths of gloom, a sudden trill
introduces the Firebird. A masterly dramatic stroke from the composer
and the conductor here. Stravinsky then goes on a frenzy of variations
on the Firebird idea with a virtuosic section for the strings and
winds. The Israel Philharmonic responds to this with their clean
execution and a touch of mischieviousness that is quite appropriate.
In
the second section, a flute melody introduces the Princesses as
they perform a Round Dance. At first the music is serene but builds
into a climax before subsiding again. LB chooses to go slower on
this movement which in some ways stagnates the music. The orchestra
capitalizes on the sweet melody and delivers a more contemplative
reading of this section. As I mentioned before, the Israel Philharmonic
has a certain raw sound and it is here, that this becomes a setback.
Much like the Russian orchestras of old, somehow in these slower
and gentler passages, the orchestra loses lustre.
However,
this is made up for in the third section, the Infernal Dance
of the King Kaschei. This demonic number is filled with powerful
accents and syncopated rhythms that once again, the better qualities
of Bernstein and this orchestra prevails. The opening theme is taken
sombrely at first to give room for build-up. The dissonances and
brass passages are made use of wonderfully, as the strings provide
an insistent rhythmic drive. One can imagine that this would certainly
be very exciting on stage and must have been one of the highlights
of the entire ballet.
The
suite ends with a Berceuse or a lullaby on solo bassoon,
accompanied by the gentre strains of a harp. It is the spell cast
by the Firebird to put the demons to sleep, but the sublime beauty
of this passage will hardly put the audience to sleep. The uncomfortable
dissonant chords in such a quiet passage is immensely disturbing
and it enhances the mystical quality of the music.
The
Finale begins with a horn solo recapitulation of the Princess theme,
which is transformed into a joyful hymn of praise. The magnificent
brass shine here, as LB picks a relatively quicker tempo but retains
the solemnity and grandeur. This is almost a certain crowd pleaser
and begs for an ovation. Well, Bernstein does have a knack for that,
and more often than not, he gets what he wants.
Pétrouchka (the French form of Petrushka), subtitled
a "Burlesque in 4 scenes", has seen many arrangements simply because
of the inventiveness of its thematic material, rhythmically and
harmonically. Not only is this orchestral suite a popular concert
work, its version for solo piano entitled Three Fragments from
Petruchka has become staple in the repertoire of piano virtuosos.
Left:
Stravinsky in 1911, with Nijinsky as Petrushka.
The
morbid tale tells of the puppet Petruchka, the Ballerina and Moor,
perhaps a Russian version of the European fairy tale of the tin
soldier, but with darker undertones. The music certainly reflects
this and also the many sights and sounds of the Shrovetide fair
in which the story is set.
Perhaps
the most recognisable track is the Danse Russe, with its
semi-quaver melody, here played to perfection by the Israel Philharmonic.
Bernstein never fails to remind us that this is dance music as he
conjures up, even in our minds, the many opportunities in choreography
and movement. Don't forget that Bernstein himself was a composer
of musicals and dance numbers, some as complicated as Stravinsky's.
His understanding of the drama therein is thus obviously inherent.
Another
track very much worthy of attention is the Dance of the Ballerina,
that from a militaristic sounding trumpet call is transformed into
a waltz, as the ballerina dances with the evil Moor. The wind ensemble
that performs this waltz plays this with a blend of mockery and
sweetness. Melodies go their separate ways and out of time, becoming
a distorted waltz of seduction as the Moor tries to seduce the Ballerina.
This is interrupted by a furious Petruchka, but he is no match for
the Moor and gets thrown out. This complicated passage is brilliantly
constructed and equally well-performed on this recording, giving
the listener no sense of disorganisation at all. To make difficult
passages sound at ease (not easy) is perhaps one of the merits of
a good orchestra.
The
Death of Petruchka in the hands of the Moor is an extremely
sad moment in a quiet passage told by a solo clarinet and a violin.
The death of this puppet attracts the attention of the police, who
enter the scene with a set of spastic repetitive notes on the bassoon.
The puppeteer demonstrates that it is merely a puppet that has "died"
but at the end, the ghost of Petruchka appears, an ominous ending
to a sad story.
One
of the few drawbacks of this DG recording is the volume at which
these soft passages are recorded. It demands that one sits in a
quiet room to fully experience the music. The extreme range of the
orchestra's dynamics is so wide that though it is a dramatic asset
it can be quite a nuisance for the listener, in practical listening
terms. However, that is the nature of the music and the way it must
be performed. It is certainly not easy listening, or what LB would
call Muzak, but serious stuff that requires your every attention
to grasp the subtle nuances of meaning.
The 18-minute long Scènes de Ballet is a strange creature,
that makes it an "encore", if you may, at the end of this excursion
of Stravinsy's heavy duty ballet music. As some critics have put
it, this is a "a solemnisation of Broadway". Billy Rose, who commissioned
the work for $5000, said it was a "great success" as it was but
it would become a "sensational success" if Stravinsky let the work
be touched up by Cole Porter's orchestration. (The audacity!) Sarcastiacally,
Stravinsy wired back to Rose "Satisfied with Great Success".
Right:
Portrait of Stravinsky (1915)
by Jacques Emile Blanche.
Listening
to the Pas de deux, it is possible to mistake it for a Broadway
song and the way it is developed is reminiscent of such ballades.
Trivial as such, the eleven-movement work ends with a final Apotheosis
no less. Bernstein's treatment of the work is appropriate in its
simplicity. Perhaps the lighter subject matter trivialises the work
in a sense but it is by no means a mere Broadway dance number as
it has its fair share of complexities. In this way, it is quite
endearing and perhaps a nice contrast to the other nerve-wrecking
works on this recording.
Stravinsky's
relationship with the symphony is an odd one. I find that his major
contribution to the form is his Symphony of Psalms, which
is one of the greatest choral works of the 20th Century. Other than
that, his Symphony in C (1938-1940) hints of neo-classicism
and this Symphony Three Movements (1945) is a different cup
of tea altogether.
Here
is more chromaticism, and deviance from tonal centres. The energy
and drive is still there, this time, not in a dance but in the much
grander structure of the symphony. After hearing the bombastic works
in the earlier tracks, the Israeli orchestra sounds much more tame.
Although the rhythmic emphasis is there, I do not think that there
is sufficient effort to give the music the direction that it begs
to have. In that way, the Symphony is close to the ballet music,
but here strangely enough, this work is dwarfed by the ballet suites.
Maybe it is the effect of the strange coupling of pieces, but the
placement of this symphony causes it to lose some of its attractiveness
for me.
It is the one work which Stravinsky came closest to acknowledging
some external inspiration, including that of war-time images comprising
a documentary film of Japanese "scorched earth" tactics in China,
footage of German soldiers marching (left) and the "rise of the
allies". In a way, the music is good enough that you do not need
to know this to enjoy it. The second movement of the Symphony is
certainly worth a listen. Stravinsky places a flute solo on top
of some detached rhythms from the other winds and pizzicato strings,
creating quite an interesting texture. The chromaticism I was talking
about prevails most strongly here. At the end of the second movement,
there is a short Interlude before the music moves into the
Con moto. This is like a basic question-and-answer section
between the winds and the strings, that ushers in the new tempo.
The last movement is like the first in a way, rhythmic and more
"interesting" because of the increased syncopation. Yet this way,
it pales in contrast to what we have heard in the Rite.
This
recording is surely not for a one-time sit through. Rather it is
a fantastic bargain as a reference for excellent performances all
round. The amount of music here is worth at least twice the price
of this album! You may want to check out Stravinsky conducting his
own music for additional insight (on Sony). Other than that, Bernstein
is basically one conductor who has the rhythm IN him and
together with the kind of passion he infuses into his performances,
he is almost the perfect spokesman for Stravinsky.
ADRIAN
TAN risks his life by going through the entire recording in
one sitting to bring you this review!
328: 31.10.1998
© Adrian Tan
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