THE RITE OF SPRING STRAVINSKY e Ritual Action of the Ancestors (Action rituelle des ancêtres) [3.41] r Sacrificial Dance: The Chosen One (Danse sacrale: L’élue) [5.05] LES BICHES POULENC Les Biches Francis Poulenc (1899-1963) t I. Ouverture [3.13] The Rite of Spring (Le sacre du printemps) Igor Stravinsky (1882-1971) y II. Rondeau [3.21]

u III. Chanson dansée [3.58] Part I – Adoration of the Earth (L’adoration de la terre) i IV. Adagietto [3.40] 1 Introduction [3.31] o V. Jeu [4.10] 2 The Augurs of Spring (Les Augures printaniers) Dances of the Young Girls (Danses des adolescentes) [3.06] p VI. Rag-Mazurka [5.28] 3 Ritual of Abduction (Jeu du rapt) [1.22] a VII. Andantino [3.06] 4 Spring Rounds (Rondes Printanières) [3.40] s VIII. Petite chanson dansée [1.46] 5 Ritual of the Rival Tribes (Jeux des cités rivales) [1.42] d IX. Final [4.01]

6 Procession of the Sage (Cortège du sage) [0.42] Total timings: [67.48] 7 The Sage (Le sage) [0.23] 8 Dance of the Earth (Danse de la terre) [1.14]

BBC NATIONAL ORCHESTRA OF WALES Part II – The Sacrifice (Le sacfrifice) LESLEY HATFIELD LEADER 9 Introduction [4.48] BBC NATIONAL CHORUS OF WALES 0 Mystic Circles of the Young Girls (Cercles mystérieux des adolescentes) [3.42] ADRIAN PARTINGTON ARTISTIC DIRECTOR q Glorification of the Chosen One (Glorification de l’élue) [1.28] THIERRY FISCHER CONDUCTOR w Evocation of the Ancestors (Evocation des ancêtres) [0.39] www.signumrecords.com The Rites of Women the scenario of his ballet, initially called ‘The Great taken by Roerich directly from Nestor’s Primary but – as Stravinsky recalled late in his life – when Sacrifice’, Stravinsky turned to the archaeologist, Chronicle which describes the “lawless” practices the curtain rose “on the group of knock-kneed Here are two ballets which at first glance may painter and designer Nicholas Roerich. of unbaptized tribes in which men – after various and long-braided Lolitas jumping up and appear poles apart aesthetically – one of them games – “carried off wives for themselves, each down, the storm broke”. Counter-protests and atavistic, violent and ‘primitive’, the other Closely associated with the Ballets Russes from taking any woman who whom he had arrived at fisticuffs broke out as the students in the sophisticated, elliptical and ‘chic’. Yet both its birth, Roerich had designed the costumes an understanding”. theatre’s standing room, situated between the have in common the subject of sex; more for two key productions in its inaugural year of boxes and stalls occupied by the more affluent specifically, both focus on the role of women in 1909: the phenomenally successful Polovtsian The ballet’s final and most controversial element section of the audience, turned on their wealthy the rituals of sex and sexual attraction. The Dances (from Borodin’s opera Prince Igor), was Nijinsky’s choreography. Diaghilev’s leading neighbours to defend the modern ballet. In differences between the two ballets are not merely and Ivan the Terrible, Diaghilev’s adaptation male dancer had already created strikingly the hubbub, Stravinsky’s music went largely one being set in ancient Rus’, and the other in of Rimsky-Korsakov’s Maid of Pskov (which unorthodox choreography for Debussy’s Prélude unheard, and was not to be properly appreciated a fashionable house party in 1920s Paris: the launched the great bass singer Chaliapin’s à l’après-midi d’un faune, inspired by the by the public until its triumphant first concert ‘primitive’ ballet was the work of several male career in the West). But what made Roerich a stylised poses depicted in ancient Greek art. In performance a year later, conducted by artists – not least the legendary dancer Vaslav particularly suitable collaborator for Rite was his Rite, he deliberately negated everything classical Pierre Monteux (who had also conducted the Nijinsky who created its choreography – while the specialist knowledge of ancient Slavic culture ballet had aspired to in presenting the human ballet’s premiere). other was essentially the work of Nijinsky’s sister, and rituals. Several of his paintings already body: whereas previously choreographers had the remarkable Bronislava Nijinska. foretold the ballet’s subject matter, with titles aimed to make the body seem graceful, light Stravinsky scored Rite for one of the largest such as The Elders Gather (1898), Idols (1901), and almost capable of flight (an illusion of which orchestras ever gathered for a ballet including The Rite of Spring, almost overnight, established Ritual Dance (1904) and Yarilo’s Gully (1908), Nijinsky the dancer was a master), Nijinsky quadruple woodwind, a large brass section Stravinsky as one of the early 20th century’s Yarilo being the ancient Slavonic sun god. made his dancers appear heavy-footed, awkward and a percussion section which includes five great revolutionary composers. But how did and angular with feet turned inwards and timpani, crotales and a güiro. However his this extraordinary and nightmarish masterpiece Later there were furious claims and counter- elbows pressed to the sides of their body. real achievement was to break the rhythmic come about? Stravinsky subsequently claimed claims by composer and artist as to whose regularity of Western music’s written barline, he was inspired by a dream he had in the spring conception The Rite of Spring truly was, but it It was this, rather than Stravinsky’s music, which and to effectively convert the orchestra into a of 1910, when he was finishing The Firebird: seems likely that Stravinsky first presented his idea caused the notorious riot at the ballet’s premiere great percussive instrument; this he did less “I saw in imagination a solemn pagan rite. of a sacrificial dance to Roerich, who then at the new Théâtre des Champs-Elysées on 29 through his use of his actual percussion, used Sage elders, seated in a circle, watched a young developed the rest of the scenario. For instance May 1913. Some noises of disapproval were relatively sparingly in the ballet, but more girl dance herself to death. They were sacrificing the ‘Abduction’, when the male dancers pursue heard during the Prelude, launched by a solo through the aggressive use of dissonances her to propitiate the god of spring”. To help realise and make off with young female mates, was bassoon playing at a fearsomely high tessitura, created for their intrinsic sound rather than

- 4 - - 5 - for any sense of classical resolution (a logical Diaghilev took a great interest in the project Though its setting is clear enough, Les Biches proceeded to drastically reduce the length of extension to the harmonic innovations of and expressed the hope that it would be a does not present a story, but rather situations the coat. “I feel naked!” protested Nemchinova Debussy), most famously in the stamping contemporary Sylphide for the 1920s. Poulenc or the dynamics of certain sexual relationships. as Diaghilev exposed the full length of her legs. rhythms of the ‘Dance of the Adolescents’. responded with a light-hearted and witty series It has been plausibly suggested that the “Then go and buy yourself some white gloves!” of dances, neo-classical in style (including a choreographer Nijinska, no beauty herself, made retorted the impresario. Despite the work’s enormous reputation, the ballet direct quote from Mozart’s Prague Symphony the ballet an expression of her jaundiced view had less than a dozen performances before it in the Final), yet which breathe the spirit of the of the female stereotypes women were expected Nijinska herself danced the hostess (whose big abruptly fell out of the company’s repertoire Jazz Age. Ironically so, since he later confessed to play early in the 20th century. Nearly all the number is the ‘Rag-Mazurka’), a character who with the dismissal of Nijinsky (who, as Diaghilev’s to disliking jazz; yet Poulenc made a passable protagonists are trapped in conventional gender for all her feminine accessories – Chanel pearls, former lover, had committed the cardinal sin impression of its lively style in the Rondeau, roles. The three athletes, who enter a room of cigarette holder and plumed headdress – dances of getting married). However Diaghilev’s favour albeit with syncopations which perhaps owe preening women, show off all the bravura leaps with a vigorous, masculine style, so subverting – this time entirely professional – then fell upon more to the Spanish rhythms of the ballets by of male ballet dancers (during the ‘Chanson her sexual stereotype. Only two young girls Vaslav’s sister, Bronislava Nijinska, whom he his friend Manuel de Falla; and of course in the dansée’) but perform each action in unison dressed in grey – Sapphic yet innocent – appear appointed the company’s chief choreographer Rag-Mazurka, which incidentally contains the and abruptly rather than within a flowing unaffected and genuine in their mutual attraction in 1921. She was to hold that post exclusively ballet’s other blatant quotation – from Chopin’s dance: Diaghilev was delighted, reporting that (in ‘Petite chanson dansée’). until 1925. During that time she choreographed Polonaise in F sharp minor. And the ballet the dancers performed “weightily, like three several major ballets including Stravinsky’s brilliantly evokes its post-war world, not least cannon” – clearly this is a trio of butch poseurs. Poulenc was absolutely delighted by Nijinska’s Les Noces, Milhaud’s Le Train bleu, and Poulenc’s the brittle wit and lightly worn erudition of By contrast comes the androgynous Garçonne work, writing to a friend: “The choreography of Les Biches. its fashionable society as suggested by those – often known as the girl in blue – dressed in Les biches is a masterpiece. It is ravishing from fleeting quotations. a very short, blue velvet coat, white tights and beginning to end and exactly what I wanted”. Les Biches had a long gestation, instigated white gloves, who enters and crosses the room early in 1922 under the title Les Desmoiselles by The ballet’s designs by Marie Laurencin, a close sur les pointes to Poulenc’s Adagietto, “a very © Daniel Jaffé the couturière Germaine Bongard (rather than, friend of the poet Apollinaire, included a drop supple dance in 2/4 time” (to quote the composer). as sometimes stated, Jean Cocteau). From the curtain depicting what appear to be a couple Her costume was in fact one of Diaghilev’s outset, probably inspired by the recent production of women with deer and horses, mixing and contributions to the ballet. The dancer, Vera of Stravinsky’s Pulcinella, Bongard intended even confusing human with animal. It was this Nemchinova, had originally appeared in rehearsal that the ballet should include singing (Poulenc ambiguity which finally inspired Poulenc to find dressed in a long velvet frock-coat; disliking its ultimately set some 17th-century texts as choruses the present title, which can be either translated appearance, Diaghilev took a pair of scissors and in three out of the ballet’s nine numbers). ‘female deer’ or ‘darlings’. cut away its collar to make a wide V-neck, then

- 6 - - 7 - artistic excellence in new or rarely performed Education and Community Outreach is integral BIOGRAPHies works. In summer 2008 Simon Holt took up to the Orchestra’s musical life and the department the role of Composer-in-Association, a post have been challenging conventions for nearly previously held by Michael Berkeley, consolidating fifteen years, extending the work of the Orchestra BBC NATIONAL ORCHESTRA the ensemble’s commitment to performing into schools, workplaces and communities. OF WALES contemporary music. The Orchestra is based at its state-of-the-art BBC National Orchestra of Wales occupies a its formidable conducting team of Principal BBC National Orchestra of Wales is Orchestra- recording and rehearsal base, BBC Hoddinott special role as both a national and broadcasting Conductor Thierry Fischer, Principal Guest in-Residence at St David’s Hall, Cardiff, and also Hall at Wales Millennium Centre. It enjoys close orchestra, acclaimed not only for the quality of Conductor Jac van Steen, Associate Guest presents a concert series at the Brangwyn Hall, working relationships with radio and television its performances but also for its importance Conductor François-Xavier Roth and Conductor Swansea. As well as international touring, it is programme-makers and continues to record within its own community. Laureate Tadaaki Otaka. As well as an in demand at major UK festivals and performs numerous soundtracks, including BBC Wales’s outstanding ability to refresh core repertoire, every year at the BBC Proms and biennially at Doctor Who and Torchwood series and the The Orchestra has won considerable critical the Orchestra is proud of its adventurous the prestigious BBC Cardiff Singer of the World. BBC’s Human Planet series. and audience acclaim over recent years, under programming and continuously demonstrates © Chris Stock © Brian Tarr

- 8 - - 9 - BBC NATIONAL CHORUS Partington and enjoys a close performing Hall near Monmouth, St David’s, St Asaph and OF WALES relationship with BBC National Orchestra of Wales. Brecon cathedrals, as well as around the UK, Artistic Director Adrian Partington including Symphony Hall, Birmingham, Exeter, Most of the Chorus’s concerts take place at St Gloucester and Worcester cathedrals, and BBC National Chorus of Wales was formed in David’s Hall in Cardiff, and in the BBC’s new annually at the BBC Proms in the Royal Albert 1983. It has developed into one of the UK’s leading concert hall in the Wales Millennium Centre, Hall. It has formed a close working relationship large mixed choruses. While preserving its BBC Hoddinott Hall. The chorus also frequently with the Ensemble Orchestral de Paris, with amateur status, the Chorus works to the highest performs at other venues in Wales, such as which the Chorus has performed in Paris and at the standards under its Artistic Director Adrian Brangwyn Hall in Swansea, the Nimbus Concert St. Denis Festival.

While most of BBC National Chorus of Wales’s concerts are of large-scale choral-orchestral repertoire from Beethoven to Messiaen, it also gives many smaller-scale concerts under the direction of Adrian Partington, often of works by leading Welsh composers such as Mathias and Hoddinott. The Chorus has also given first performances of major works including pieces by Daniel Jones, Sir John Tavener and John Hardy.

BBC National Chorus of Wales has made a number of recordings, including works by Honegger, Florent Schmitt, Mendelssohn, Elgar, Bridge, Dyson, and Leighton, as well as Stanford’s Songs of the Sea, which received a Gramophone Award in 2006. All its performances are broadcast on national or regional radio or television. © Brian Tarr © Brian Tarr

- 10 - - 11 - THIERRY FISCHER In 2010 Fischer made debuts with orchestras his compatriots Frank Martin and Honegger, music by Honegger, d’Indy and Florent Schmitt as diverse as the Czech Philharmonic and and a particular feel for the music of Prokofiev, with the BBC National Orchestra of Wales. The Fischer and the BBC National Orchestra of Orchestra of the Age of Enlightenment, and has Stravinsky and Shostakovich. He has a special relationship began with a series of recordings Wales appear every season at the BBC Proms returned several times to SWR Baden Baden, affinity with the unique textures and radical of Jean Francaix ballets with the Ulster Orchestra. in London. Since the start of Fischer’s tenure whilst also nurturing his long-standing relationships utopianism of Messiaen. Fischer regularly He recently made a live recording from the in 2006 the orchestra has mounted major with several key chamber orchestras, notably programmes contemporary composers such as Concertgebouw in Amsterdam of Frank Martin’s celebrations of the music of Dutilleux and the Scottish Chamber, Netherlands Radio Simon Holt (Composer in Residence at the BBC rarely-performed opera The Tempest with the Messiaen, toured to USA, Spain, Italy and Chamber and Ensemble Orchestral de Paris. National Orchestra of Wales), and is a regular Netherlands Radio Philharmonic, to be released Prague, and in August 2010 played two concerts In May 2010 he took the Nagoya Philharmonic guest of the London Sinfonietta. in 2011. This disc marks the third recording of in the Amsterdam Concertgebouw. to Tokyo, making his Suntory Hall debut. the great Stravinsky ballets with BBC NOW on Alongside his regular relationships, Fischer Fischer studied flute with Aurèle Nicolet and Signum, with Firebird and Petrushka already has guest-conducted orchestras such as began his musical career as Principal Flute in released to excellent reviews. Fischer has also the Philharmonia,Orchestre National de Lyon, Hamburg and at the Zurich Opera, where he recorded for ASV and Chandos. His recording Berlin Konzerthausorchester and the radio studied scores with Nikolaus Harnoncourt and on Deutsche Grammophon of Frank Martin with orchestras of Paris (Orchestre Philharmonique was profoundly influenced by him. His conducting the Chamber Orchestra of Europe was nominated de Radio France), Stockholm, Hanover, Lugano career began in his 30’s when he replaced an for a Gramophone Award. and Saarbruecken; the Indianpolis, New Jersey ailing colleague, subsequently directing his and Colorado symphonies; the Malaysian first few concerts with the Chamber Orchestra Philharmonic and West Australian Symphony of Europe where he was Principal Flute under Orchestra in Perth, Australia. Claudio Abbado, who encouraged and inspired him in his new-found talent for conducting. Fischer’s hallmarks are a lightness of touch Spending his apprentice years in Holland, Thierry and transparency of texture, allowing room for Fischer has since appeared with many leading vivid characterisation. He has a keen stylistic orchestras in the UK and Europe, and from sense and brings a fresh approach to repertoire 2001-2006 he was Principal Conductor and which extends from Bach, the classical Artistic Advisor of the Ulster Orchestra. repertoire and early Romantics; the 2nd Viennese school, the great French composers Fischer has a flourishing relationship with of the early 20th century, a keen advocacy of Hyperion Records, with whom he has recorded © Chris Stock

- 12 - - 13 - BBC is a trademark of the British Broadcasting Corportation and is used under license. BBC © BBC 1996.

Recorded live at St David’s Hall, Cardiff on 19 June 2009. Producer - Tim Thorne Recording Engineer - Mike Hatch Recording Assistant - Alex Foster Editor - Dave Rowell

Cover Image - Shutterstock Design and Artwork - Woven Design www.wovendesign.co.uk

P 2011 The copyright in this recording is owned by Signum Records Ltd. © 2011 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd.

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SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] © Brian Tarr www.signumrecords.com

- 14 - - 15 - ALSO AVAILABLE on signumclassics

Stravinsky: Firebird Stravinsky: Petrushka BBC National Orchestra of Wales Liadov: Baba-Yaga, The Enchanted Lake, Kikimora Thierry Fischer, conductor BBC National Orchestra of Wales SIGCD165 Thierry Fischer, conductor SIGCD195

“This fresh sounding live recording from the BBC National “Both composers benefit from Fischer’s trademark refinement. His Orchestra of Wales under Thierry Fischer, the first made in the BBC Petrushka, notably beautiful, is graciously touching rather than Hoddinott Hall in Cardiff, certainly has a sense of occasion about violent or eruptive, the clean-textured, superbly detailed playing it, with the audience erupting as the finale chorale reaches its from the BBC National Orchestra Wales reminds us just how exultant conclusion.” startlingly original Stravinsky’s sonorities are.” BBC Music Magazine The Guardian

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000