Suite: The Firebird - Stravinsky (1882-1971)

Introduction: Dance of the Firebird: Ronde of the Princesses: Kastchei's Infernal Dance: Berceuse: Finale

Before embarking on Stravinsky's "Firebird" it is an undoubted help to know the story of the original ballet. In a world of fantasy a young prince Ivan finds himself wandering in an enchanted garden in the terrible kingdom of the ogre Kastchei, an immortal and wholly evil character with a penchant for imprisoning women and turning men to stone. Blissfully unaware, Ivan sees a beautiful firebird and steals a feather from it. Leaving the garden he encounters thirteen maidens and, in an instant, falls in love with one of their number. When the maidens are forced by Kastchei's magic to return to his castle, Ivan is compelled to follow. Captured by the ogre's servants and about to be petrified, he waves the stolen feather summoning the firebird who reveals Kastchei's secret. His soul is in the form of an egg retained in a coffin and must remain unbroken. Ivan breaks into the coffin and smashes the egg thus destroying the tyrant and releasing the evil spell over his Kingdom. The captives are liberated and Ivan is free to marry his chosen love, Tsarevna.

On the basis of such fantasy is great art wrought and Stravinsky obliged with a masterpiece. If anyone ever wanted an easy introduction to twentieth-century music, then "The Firebird" cuts the mustard. The music has power, charm, beauty and, of course, an affirmative ending - the latter being the point where abbreviated broadcasts usually begin, missing out on all the previous inspired invention. The opening bars, calm but certainly with a sense of foreboding, are whispered by the lower strings with warning signals as the wind motifs become more insistent. This leads to the "Dance of the Firebird" where Stravinsky's use of the orchestral palette, astonishingly imaginative throughout, is at its transparent best - little wonder that for years Hollywood's film composers spawned music derived from this innovative writing. But, don't be put off by the technical talk, here is magical music propelled along by an increasingly bewitching sense of rhythm and urgency. The ensuing Ronde of the Princesses, simple music wonderfully expressed, is ravishingly sensuous. Now comes Kastchei's "Infernal Dance". This really is powerful stuff with its strong rhythms and forward thrust invoking more and more of a primeval atmosphere. An expressive "Berceuse" opens out directly into a serene horn solo on which is conceived the inspirational "Finale".

Some years ago our neighbours in deepest Harrovian suburbia, thinking that my wife, Judy, was in the Philharmonia Orchestra - she was of course in the LPO - had subscribed to its Royal Festival Hall concert series. In spite of this shortcoming in membership, they enjoyed the concerts but decided that a forthcoming performance of Stravinsky's "Rite of Spring" was going to be too difficult and modern. A bit of encouragement from us persuaded them to attend and they came home full of it, telling us what a wonderful piece of music it was! Well, if you find twentieth-century music difficult to listen to, follow their example. Here's your starter for ten, "The Firebird".

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