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CHAN 9408 Cover.Qxd 26/3/08 11:34 Am Page 1 CHAN 9408 cover.qxd 26/3/08 11:34 am Page 1 Chan 9408 CHANDOS Stravinsky The Rite of Spring Requiem Canticles + Canticum Sacrum Orchestre de la Suisse Romande Neeme Järvi CHAN 9408 BOOK.qxd 26/3/08 11:37 am Page 2 Igor Stravinsky (1882–1971) The Rite of Spring 32:42 PART I – Adoration of the Earth 1 Introduction – 3:13 2 The Augurs of Spring – Dances of the Young Girls – 3:46 3 Ritual of Abduction – 1:20 4 Spring Rounds – 3:31 5 Ritual of the River Tribes – 1:51 6 Procession of the Sage – 0:43 7 The Sage – 0:23 8 Dance of the Earth 1:16 PART II – The Sacrifice 9 Introduction – 3:57 10 Mystic Circles of the Young Girls – 3:11 11 Igor Stravinsky Glorification of the Chosen One – 1:26 12 0:49 AKG London Evocation of the Ancestors – 13 Ritual Action of the Ancestors – 3:06 14 Sacrificial Dance (The Chosen One) 4:09 Raynal Malsam bassoon solo 3 CHAN 9408 BOOK.qxd 26/3/08 11:37 am Page 4 Canticum Sacrum 16:40 Chorale Variations 10:40 15 Dedicatio 0:40 on the Christmas Carol ‘Vom Himmel hoch, da komm’ ich 16 III Euntes in mundum 1:59 her’ (J. S. Bach) 17 III Surge, aquilo 2:25 32 Chorale 0:48 III Ad Tres Virtutes Hortationes 0:41 33 Variation I In canone all’Ottava 1:13 18 Caritas – 2:12 34 Variation II Alio modo in canone alla Quinta 1:14 19 Spes – 1:47 35 Variation III In canone alla Settima 1:51 20 Fides 2:46 36 Variation IV In canone all’Ottava per augmentationem 2:30 21 IV Brevis Motus Cantilenae 2:41 37 Variation V L’altra sorte del canone al rovescio 3:04 22 IV Illi autem profecti 1:58 TT 74:35 Requiem Canticles 14:01 Irène Friedli alto 23 Prelude 1:06 Frieder Lang tenor 24 Exaudi 1:34 Michel Brodard bass 25 Dies irae – 0:58 Chœur Pro Arte de Lausanne 26 Tuba mirum 1:07 Chœur de Chambre Romande 27 Interlude 2:31 André Charlet choir master 28 Rex tremendae 1:17 Orchestre de la Suisse Romande 29 Lacrimosa 1:55 Jean Piguet leader 30 Libera me 0:58 31 Postlude 2:18 Neeme Järvi 4 5 CHAN 9408 BOOK.qxd 26/3/08 11:37 am Page 6 process too. In The Rite Stravinsky rejected sound-world, with similar orchestration and Igor Stravinsky: The Rite of Spring etc. evolutionary procedures in favour of a detail parallels in the instrumental point of juxtaposition and superimposition of sharply phrases; indeed Stravinsky clearly intended differentiated and strongly characterized them to be programmed together. Yet where The Rite of Spring (1911–13, revised 1947) It is tempting to extend the central materials in a manner which is often the former discourses on the styles of the is an allegory of spring, and at its heart lies metaphor of renewal to the musical language analogous to cinematic ‘intercutting’. Venetian renaissance and of Webern, the latter an act of sacrifice, the price to be paid for a itself. This comes down to very basic changes Repetition and return are at the heart of the is a ‘transcription’ of Bach’s canonic variations. necessary renewal. For Stravinsky it was this in musical syntax, already implicit in Petrushka process, at the tonal level, at the level of the Vom Himmel hoch is of course much more than central image that mattered – an image of (1910–11), but fully realized in The Rite of individual phrase, where motivic fragments a transcription. Stravinsky adds as well as eternal recurrence, of a cyclic order in things, Spring. Put plainly, Stravinsky turned on its oscillate continuously, and even at the level of translates. And even where the notes remain of endlessly renewable repetition, always the head the classical relationship between the elemental driving pulse. The primal energy the same, they take on new meaning without same and always different. Hence the harmony and rhythm in this work. The classical of pulse, stripped of metric regularity, entirely losing touch with the old. The essential invocation of ancient pagan rituals, articulated phrase is shaped and directed above all by acquired a new status in The Rite, reaching its point is that stylistic difference between the (in Stravinsky’s choreographic vision) through harmony, while rhythm maintains a expressive high point in the ferocious two works – as always in Stravinsky – is a ‘rhythmic mass movements of the greatest background of regular periodicity (metre). In barbarity of the culminating movements of matter of surface, not substance. simplicity’. On this and other levels the work The Rite, rhythm is the shaping element both parts, the ‘Danse de la terre’ (Dance of Canticum Sacrum took its larger design was an almost archetypal document of its (specifically rhythmic asymmetries), while the Earth) and ‘Danse sacrale’ (Sacrificial from the architecture of St. Mark’s, Venice, for times, finding a wider aesthetic context in the harmony is the unchanging, ‘static’ element. Dance). Quite simply, there had been nothing which it was composed, specifically through sophisticated neo-primitivism of Russian and This transformation of syntax is at its most like this before. the disposition of its five movements in Parisian art of the second decade. blatant in ‘Les augures printaniers’ (The More than most composers, Stravinsky made harmony with the five domes of the Basilica. Paradoxically its mechanical pulses also echo Augurs of Spring), where a single chord is ‘style’ part of the subject of his music, itself a Thus the central movement has the greatest the futurist aesthetic of the modern city, no subject to asymmetrical rhythmic patterning, material to be elaborated. It is perhaps in this weight and the others are grouped around it less a theme for second-decade artists. Yet, but it is present throughout The Rite, even in sense that the term ‘neo-classical’ may best be in related pairs. The relations are partly textual faced with the startling originality of the the quietly intense introductions to both parts. used of his output – not to delineate a (thematic presentations of the central music, such attempts to ‘place’ The Rite seem Within the densely interwoven counterpoints particular period, but to define a general teachings of the Church, drawn from a variety at best glib. Even today’s easy familiarity of these introductions motivic fragments aesthetic which would reestablish a distance of biblical sources), and partly musical. The scarcely dulls the explosive modernity of the derived from folk music revolve around a between the personal voice and the inter- outer movements, for instance, are linked by work. It erupted suddenly and shockingly from handful of fixed pitches, defining ‘fields’ of personal materials on which it discourses. The their solid tonal foundation and ‘massive’ the ‘dark embryo’, like the ‘violent Russian activity which remain largely unchanged. There near contemporaneity of Canticum Sacrum and sonority, the second and fourth by their vocal spring’ that – as remembered by Stravinsky – is no growth, no development in any the Vom Himmel hoch Variations (both were solos. More tellingly, the three central ‘seemed to begin in an hour and was like the traditional sense of the word. composed in 1955) neatly illustrates the point. movements are distinguished from the outer whole earth cracking’. And this is true of the work’s larger formal The two works are demonstrably of the same two by their use of a twelve-note technique 6 7 CHAN 9408 BOOK.qxd 26/3/08 11:37 am Page 8 which was just then in its infancy within remarked) seems to embrace the whole of his Stravinsky’s output. The detailed manipulations music. And this is clear from the frame of the Igor Strawinsky: Le sacre du printemps usw. of that technique need not concern us, work – a Prelude ‘freezing’ the rhythmic beyond noting that it is employed in such a asymmetries of The Rite, and a Postlude way that tonal polarities are not just possible, translating the chorale of Symphonies of Wind Le sacre du printemps (1911–13, der Zugang zu dem Werk einfacher ist, wird but inevitable. The strong framework of Instruments into a soundscape of bells and Überarbeitung 1947) ist eine Allegorie auf seine explosive Modernität dadurch kaum interlocking fifths built on A and A flat in the pitched percussion. Within that frame den Frühling, in deren Mittelpunkt eine abgeschwächt. Es brach plötzlich und second movement (‘Surge, aquilo’) is Stravinsky presents a kind of précis of the Opferhandlung steht, der Preis für den schockierend aus dem “dunklen Embryo” characteristic. Requiem Mass, and one whose commanding Neubeginn. Strawinsky kam es genau auf hervor, wie der “gewaltige russische Frühling, Later works by Stravinsky formalized this concision again allows echoes of earlier pieces dieses zentrale Bild an: ein Bild der ewigen der” – so erinnert sich Strawinsky – “in einer tendency by devising an intricate and unique to resonate – from the choral incantations of Wiederkehr, der zyklischen Ordnung, der Stunde zu beginnen schien und die ganze system of twelve, not only pitch polarities, but Symphony of Psalms to the aggressive, spiky endlos erneuerbaren Wiederholung, die immer Erde aufbrechen ließ”. chord species which establish clear points of piano textures of Movements. Underlying all is die gleiche ist, aber doch immer anders. Daher Es ist verlockend, die zentrale Metapher des contact with the harmonic language of his an harmonic idiom – strictly derived from the sein Rückgriff auf alte heidnische Rituale, die Neubeginns auch auf die Musik zu übertragen. own earlier music. Requiem Canticles, twelve-note system – whose doublings and sich (laut Strawinskys choreographischer Das liegt an den grundlegenden Änderungen completed and first performed in 1966, was tonal distortions neatly symbolize his distance Vision) durch “rhythmische Massen- der musikalischen Syntax, die sich bereits in the last and (for many) the greatest of these from, and at the same time his dependence bewegungen von äußerster Schlichtheit” Petruschka (1910–11) andeuteten, aber erst later works, and, fittingly, it was the work on, the sedimented materials of several ausdrücken.
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