Composers › Igor Stravinsky › Programme note
The Firebird
Gerald Larner wrote 2 versions of differing length — choose one below.
Berceuse
Finale
Stravinsky was never more successful, at least in commercial terms, than he was with the music for his very first ballet, The Firebird, which was written for Diaghilev’s Ballets Russes in 1910. The reason for the popularity of the score is not too difficult to find. Alongside its brilliantly extravagant colouring and its irresistible rhythmic interest, its great attraction is that it tells its story in terms of melody. It is about the evil King Kaschei who, in spite of his supernatural powers but with the help of the Firebird, is defeated by Prince Ivan. On the musical level, it is about malevolently exotic melody finally displaced by wholesome romantic melody. The music associated with the Firebird is somewhere between the two. A supernatural being like Kaschei, the Firebird is, however, anything but malevolent, as it demonstrates in the lovely Berceuse which charms Kaschei and his followers to sleep. This leads to the triumph of Ivan over Kaschei and the final glorification of romantic melody. Russian folk song gave Stravinsky just what he wanted here - an impressively broad melody called By the Gate, which positively thrives and flourishes under all the weight of celebration that the composer hangs on it.
From Gerald Larner’s files: “Firebird excerpts”
Infernal Dance
Berceuse
Finale
Stravinsky was never more successful, at least in commercial terms, than he was with the music for his very first ballet, The Firebird, which was written for Diaghilev’s Ballets Russes in 1910. The reason for the popularity of the score is not too difficult to find. Alongside its brilliantly extravagant colouring and its irresistible rhythmic interest, its great attraction is that it tells its story through its tunes. It is about the evil King Kaschei who - in spite of his supernatural powers but with the help of the magic Firebird - is finally defeated by the heroic Prince Ivan. On the musical level, it is about themes of exotic malignancy finally displaced by wholesome romantic melody.
The Infernal Dance represents King Kaschei at his most dangerous. It is a virulent study in malevolence characterised not only by its explosive dynamics and ferocious rhythmic syncopations but also by a tune that is too wild to confirm to civilised standards of harmony. Though a supernatural being like Kaschei, the Firebird is anything but malevolent, as she demonstrates in the lovely Berceuse which charms Kaschei and his followers to sleep. This leads to a final glorification of romantic melody. Russian folk song gave Stravinsky just what he wanted here - an impressively broad melody called “By the Gate” which positively thrives and flourishes under all the weight of celebration that the composer hangs on to it.
From Gerald Larner’s files: “Firebird Suite/3 movements/RA”