World Premiere: June 6, 1910 (as part of the original ballet)
Most Recent HSO Performance: February 15, 2015
Instrumentation: 2 flutes with second flute doubling on piccolo, 2 oboes with second oboe doubling on English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, xylophone, tambourine, triangle, cymbals, bass drum, harp, piano, and strings: violin I, violin II, viola, cello, and bass
Duration: 23'
Suite from The Firebird (1911)
Igor Stravinsky
(Born June 17, 1882 in Oranienbaum, near St. Petersburg Died April 6, 1971 in New York City)
Fireworks. There could not have been a more appropriate title for the work that launched the meteoric career of Igor Stravinsky. He wrote that glittering orchestral miniature in 1908, while still under the tutelage of Nikolai Rimsky-Korsakov, and it shows all the dazzling instrumental technique that the student had acquired from his teacher. Though the reception of Fireworks was cool when it was first performed at the Siloti Concerts in St. Petersburg on February 6, 1909, there was one member of the audience who listened with heightened interest. Serge Diaghilev was forming his Ballet Russe company at just that time, and he recognized in Stravinsky a talent to be watched. He approached the 27-year-old composer and requested orchestral transcriptions of short pieces by Chopin and Grieg that would be used in the first Parisian season of the Ballet Russe. Stravinsky did his work well and on time.
During that same winter, plans were beginning to stir in the creative wing of the Ballet Russe for a Russian folk ballet — something filled with legend and magic and fantasy. The composer Nikolai Tcherepnin was associated with the Ballet Russe at that time, and it was assumed that he would compose the music for a plot derived from several traditional Russian sources. However, Tcherepnin was given to inexplicable changes of mood and he was losing interest in ballet at the time, so he withdrew from the project. Diaghilev inquired whether Stravinsky had any interest in taking it over, and he agreed. The triumphant premiere of The Firebird in Paris on June 25, 1910 rocketed Stravinsky to international fame.
The story deals with the glittering Firebird and the evil ogre Kashchei, who captures maidens and turns men to stone if they enter his domain. Kashchei is immortal as long as his soul, which is preserved in the form of an egg in a casket, remains intact. The plot shows how Prince Ivan wanders into Kashchei’s garden in pursuit of the Firebird; he captures it and exacts a feather before letting it go. Ivan meets a group of Kashchei’s captive maidens and falls in love with one of them. The princesses return to Kashchei’s palace. Ivan breaks open the gates to follow them, but he is captured by the ogre’s guardian monsters. He waves the magic feather and the Firebird reappears to smash Kashchei’s vital egg; the ogre expires. All the captives are freed and Ivan and his Tsarevna are wed.
Stravinsky drew three concert suites from The Firebird. The 1919 suite includes six scenes from the complete score. The first two, Introduction and The Dance of the Firebird, accompany the appearance of the magical creature. The Round Dance of the Princesses uses the rhythm and style of an ancient Russian dance called the Khorovod. The Infernal Dance of King Kashchei, the most modern portion of the score, depicts the madness engendered by the appearance of the Firebird at Kashchei’s court after the revelation to Ivan of the evil ogre’s vulnerability. The haunting Berceuse is heard when the thirteenth princess, the one of whom Ivan is enamored, succumbs to a sleep-charm that saves her from the terrible King while Ivan destroys Kashchei’s malevolent power. The Finale, initiated by the solo horn, confirms the life-force that had been threatened by Kashchei.
©2021 Dr. Richard E. Rodda
