Igor Stravinsky's The Firebird , played by the WDR Symphony Orchestra under the direction of Martijn Dendievel in a version for concert performances from 1945. Recorded live on 07.12.2023 at the Kölner Philharmonie.

Igor Stravinsky - The Firebird. Ballet suite for orchestra (1945)

WDR Symphony Orchestra
Martijn Dendievel, conductor

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In his "Short and Classical" series, chief conductor Cristian Măcelaru talks about Stravinsky's "The Firebird":    • Igor Strawinsky - Der Feuervogel | "K...  

○ Introduction to the work
Around 1900, ballet was considered dusty and boring, but then an enterprising impresario from Russia elevated it to a new art form. After his success with a ballet to the music of Nikolai Rimsky-Korsakov, Sergei Diaghilev wanted to surprise Paris audiences in 1910 with a new work: "The Firebird". Igor Stravinsky - a young pianist and still unknown in France - was given the opportunity of a lifetime: his teacher Anatoly Lyadov, who had originally been engaged as a composer, simply took too much time. Stravinsky thus helped the extravagant "Ballets Russes" to sensational success. From then on, Sergei Diaghilev was one of Stravinsky's most important patrons. Stravinsky wrote further magnificent ballets such as "Petrushka" (1911) and the scandalous "Le sacre du printemps" (1913) for the "Ballets Russes" company, which was striving in its own unique way for a new Gesamtkunstwerk - a symbiosis of dance, visual art, poetry and music.

The libretto of "The Firebird" combines three old Russian folk tales into a magical story: the freedom-loving and philanthropic fairy - the Firebird - leads the lovers Tsarevna and Tsarevich out of the power of the evil sorcerer Kastschej. Although Stravinsky feared that his music might sound like "imitation Rimsky-Korsakov", i.e. after his former teacher, not only his influences but also those of Claude Debussy are unmistakable. All of the orchestra's sound-painting possibilities are exploited: Delicate subtleties, driving rhythms and floating atmospheric images alternate. These tonal refinements lend the score a special charm alongside the scenic presentation, but at the same time presented the dancers at the premiere in June 1910 with unusual difficulties. The prima ballerina Tamara Karsawina describes the preparation for the performance as "a tearful learning experience". But success was not only achieved by the dance company. Shortly after the premiere, Stravinsky selected five pieces for a concert suite. This was followed by a second version in 1919 and a third in 1945.
(Text: Anja Renczikowski)