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The music was premiered as a ballet by [[Diaghilev]]'s [[Ballets Russes]] in Paris on 25 June 1910 conducted by [[Gabriel Pierné]].<ref>Stephen Walsh: 'Stravinsky, Igor', ''Grove Music Online'' ed. L. Macy (accessed 1 April 2008), <http://www.grovemusic.com></ref> It was the first of their productions with music specially composed for them. Diaghilev famously approached the Russian composer [[Anatoly Lyadov]] (1855-1914) to write the music<ref>Taruskin, pp576-7</ref> (there is evidence to suggest that [[Nikolai Tcherepnin]] had previously started composing music for the ballet - music which became ''The Enchanted Kingdom'' - but that Tcherepnin for reasons unexplained withdrew from the project);<ref>Taruskin, pp.574-5</ref> however there is no evidence, despite the much-repeated story that Lyadov was slow to start composing the work, that he ever accepted the commission.<ref>See Taruskin, p.577-8</ref> Diaghilev eventually transferred the commission to the 28-year old Stravinsky. The ballet has historic significance not only as Stravinsky's 'breakthrough piece' ("Mark him well", said Diaghilev to [[Tamara Karsavina]], who was dancing the title role: "He is a man on the eve of celebrity..."), but also as the beginning of the collaboration between Diaghilev and Stravinsky that would also produce ''[[Petrushka (ballet)|Petrushka]]'' and ''[[The Rite of Spring]]''.
The music was premiered as a ballet by [[Diaghilev]]'s [[Ballets Russes]] in Paris on 25 June 1910 conducted by [[Gabriel Pierné]].<ref>Stephen Walsh: 'Stravinsky, Igor', ''Grove Music Online'' ed. L. Macy (accessed 1 April 2008), <http://www.grovemusic.com></ref> It was the first of their productions with music specially composed for them. Diaghilev famously approached the Russian composer [[Anatoly Lyadov]] (1855-1914) to write the music<ref>Taruskin, pp576-7</ref> (there is evidence to suggest that [[Nikolai Tcherepnin]] had previously started composing music for the ballet - music which became ''The Enchanted Kingdom'' - but that Tcherepnin for reasons unexplained withdrew from the project);<ref>Taruskin, pp.574-5</ref> however there is no evidence, despite the much-repeated story that Lyadov was slow to start composing the work, that he ever accepted the commission.<ref>See Taruskin, p.577-8</ref> Diaghilev eventually transferred the commission to the 28-year old Stravinsky. The ballet has historic significance not only as Stravinsky's 'breakthrough piece' ("Mark him well", said Diaghilev to [[Tamara Karsavina]], who was dancing the title role: "He is a man on the eve of celebrity..."), but also as the beginning of the collaboration between Diaghilev and Stravinsky that would also produce ''[[Petrushka (ballet)|Petrushka]]'' and ''[[The Rite of Spring]]''.

The ballet was performed in Australia, during the Ballets Russes tour in 1936-37 under the artistic leadership of Colonel [[Wassily de Basil]].<ref>http://www.nla.gov.au/balletsrusses/whatson.html</ref>


The ballet was staged by [[George Balanchine]] for the [[New York City Ballet]] in 1949 with [[Maria Tallchief]] as the [[Firebird]] with scenery and costumes by [[Marc Chagall]], and was performed in repertory until 1965. The ballet was restaged by George Balanchine and [[Jerome Robbins]] in 1970 for the [[New York City Ballet]] with elaborated scenery by Chagall and new costumes by [[Karinska]] based on Chagall's for the 1972 [[Stravinsky Festival]] that introduced [[Gelsey Kirkland]] as the Firebird.
The ballet was staged by [[George Balanchine]] for the [[New York City Ballet]] in 1949 with [[Maria Tallchief]] as the [[Firebird]] with scenery and costumes by [[Marc Chagall]], and was performed in repertory until 1965. The ballet was restaged by George Balanchine and [[Jerome Robbins]] in 1970 for the [[New York City Ballet]] with elaborated scenery by Chagall and new costumes by [[Karinska]] based on Chagall's for the 1972 [[Stravinsky Festival]] that introduced [[Gelsey Kirkland]] as the Firebird.
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Noise rock trio [[Blind Idiot God]] reinterpretated some themes from the introduction in their song ''Stravisnky - Blasting Off''.
Noise rock trio [[Blind Idiot God]] reinterpretated some themes from the introduction in their song ''Stravisnky - Blasting Off''.

[[Graeme Murphy]] and [[The Australian Ballet]] colloborated in 2009 on a new ''Firebird'' with set and costume designs by the young designer Leon Krasenstein.<ref>http://www.nla.gov.au/balletsrusses/whatson.html</ref>



==Selected recorded versions==
==Selected recorded versions==
Line 155: Line 160:
==Sources==
==Sources==
* Taruskin, Richard. ''Stravinsky and the Russian Traditions''. Oxford: Oxford University Press, 1996. ISBN 0-19-816250-2
* Taruskin, Richard. ''Stravinsky and the Russian Traditions''. Oxford: Oxford University Press, 1996. ISBN 0-19-816250-2
* http://www.nla.gov.au/balletsrusses/whatson.html


== External links ==
== External links ==
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*[http://www.balanchine.org Balanchine Foundation website]
*[http://www.balanchine.org Balanchine Foundation website]
*[http://jeromerobbins.org/ Robbins Foundation and Trust website]
*[http://jeromerobbins.org/ Robbins Foundation and Trust website]
*[http://www.australianballet.com.au/ The Australian Ballet website]
*[http://www.nla.gov.au/balletsrusses/ National Library of Australia Ballets Russes website]


{{col-end}}
{{col-end}}

Revision as of 12:10, 24 June 2009

This article is about the ballet to Stravinsky's music. For other uses of the word, see Firebird.
The Firebird
ChoreographerMichel Fokine
MusicIgor Stravinsky
Premiere25 June 1910
Paris
Original ballet companyBallets Russes
SettingRussia
Created forTamara Karsavina
GenreNeoclassical ballet
Typeclassical ballet

The Firebird (French: L'Oiseau de feu; [Жар-птица, Žar-ptica] Error: {{Lang-xx}}: text has italic markup (help)) is a 1910 ballet by Igor Stravinsky and choreographed by Michel Fokine. The ballet is based on Russian folk tales of the magical glowing bird of the same name that is both a blessing and a curse to its captor.

The music was premiered as a ballet by Diaghilev's Ballets Russes in Paris on 25 June 1910 conducted by Gabriel Pierné.[1] It was the first of their productions with music specially composed for them. Diaghilev famously approached the Russian composer Anatoly Lyadov (1855-1914) to write the music[2] (there is evidence to suggest that Nikolai Tcherepnin had previously started composing music for the ballet - music which became The Enchanted Kingdom - but that Tcherepnin for reasons unexplained withdrew from the project);[3] however there is no evidence, despite the much-repeated story that Lyadov was slow to start composing the work, that he ever accepted the commission.[4] Diaghilev eventually transferred the commission to the 28-year old Stravinsky. The ballet has historic significance not only as Stravinsky's 'breakthrough piece' ("Mark him well", said Diaghilev to Tamara Karsavina, who was dancing the title role: "He is a man on the eve of celebrity..."), but also as the beginning of the collaboration between Diaghilev and Stravinsky that would also produce Petrushka and The Rite of Spring.

The ballet was performed in Australia, during the Ballets Russes tour in 1936-37 under the artistic leadership of Colonel Wassily de Basil.[5]

The ballet was staged by George Balanchine for the New York City Ballet in 1949 with Maria Tallchief as the Firebird with scenery and costumes by Marc Chagall, and was performed in repertory until 1965. The ballet was restaged by George Balanchine and Jerome Robbins in 1970 for the New York City Ballet with elaborated scenery by Chagall and new costumes by Karinska based on Chagall's for the 1972 Stravinsky Festival that introduced Gelsey Kirkland as the Firebird.

Story

Stravinsky's ballet centers on the journey of its hero, Prince Ivan. Ivan enters the magical realm of Kashchei the Immortal; all of the magical objects and creatures of Kashchei are herein represented by a chromatic descending motif, usually in the strings. While wandering in the gardens, he sees and chases the Firebird. The Firebird, once caught by Ivan, begs for its life and ultimately agrees to assist Ivan in exchange for eventual freedom.

Next, Prince Ivan sees thirteen princesses, with one of whom he falls in love. The next day, Ivan chooses to confront Kashchei to ask to marry one of the princesses; the two talk and eventually begin quarreling. When Kashchei sends his magical creatures after Ivan, the Firebird, true to its pledge, intervenes, bewitching the creatures and making them dance an elaborate, energetic dance (the "Infernal Dance"). The creatures and Kashchei then fall asleep; however, Kashchei awakens and is then sent into another dance by the Firebird. While Kashchei is bewitched by the Firebird she tells Ivan the secret to Kashchei's immortality and Ivan destroys it killing Kashchei. With Kashchei gone and his magic broken, the magical creatures and the palace all disappear, and all of the "real" beings (including the princesses) awaken and, with one final fleeting appearance from the Firebird, celebrate their victory.

Léon Bakst: Firebird, Ballerina, 1910

Versions

People often speak of "Stravinsky's music for The Firebird" as if just one work exists; in fact, besides the complete 50-minute ballet score of 1909-10 (written for a very large orchestra including quadruple woodwind and three harps, as well as a piano), there also exist no fewer than three shorter 'suites', arranged by the composer himself for concert performance. These date from 1911, 1919 and 1945. While the 1919-suite remains the most wide spread and well known, the 1945 version contains the most music from the original ballet score (partly motivated by the need to secure copyright in a USA that did not recognise European agreements).

Note that there is no consensus for the precise naming of either the different versions, or of the movements, or the numbering of the movements. Different recordings tend to follow different naming conventions. While this partly might be due to the English translation from the original French names, some recordings of the orchestral suites even avoid referring to the tale by just calling the movements by their formal names, i.e., Adagio, Scherzo, Rondo and Allegro.

Many adaptations of the Firebird Suite for Concert Band, Marching Band and Drum Corps have been made throughout the years. For an example, listen to the adaption for a percussion trio (Dance of the Firebird)

There are also, of course, multiple versions of the choreography for The Firebird. For example, Graeme Murphy is producing a new choreography in 2009.

1910 Ballet Score (aka "Ballet in 2 scenes for orchestra")

(1) Introduction; 1st Tableau: (2) The Enchanted Garden of Kashchei; (3) Appearance of the Firebird, Pursued by Prince Ivan; (4) Dance Of The Firebird; (5) Capture Of The Firebird By Prince Ivan; (6) Supplication Of The Firebird; (7) Appearance Of The Thirteen Enchanted Princesses; (8) The Princesses' Game With The Golden Apples; (9) Sudden Appearance Of Prince Ivan; (10) Khorovod (Round Dance) Of The Princesses; (11) Daybreak; (12) Magic Carillon, Appearance Of Kashchei's Monster Guardians, And Capture Of Prince Ivan; (13) Arrival Of Kashchei The Immortal; (14) Dialogue Of Kashchei And Prince Ivan; (15) Intercession Of The Princesses; (16) Appearance Of The Firebird; (17) Dance Of Kashchei's Retinue, Enchanted By The Firebird; (18) Infernal Dance Of All Kashchei's Subjects; (19) Lullaby; (20) Kashchei's Awakening; (21) Kashchei's Death; (22) Profound Darkness; 2nd Tableau: (23) Disappearance Of Kastchei's Palace and Magical Creations, Return to Life of the Petrified Knights, General Rejoicing

Orchestration: 4 flutes (3rd & 4th also Piccolo); 3 oboes; cor anglais; 3 clarinets (3rd also D Clarinet); bass clarinet; 3 bassoons (2nd also 2nd contrabassoon); contrabassoon; 4 horns; 3 trumpets; 3 trombones; tuba; 3 trumpets (onstage); 2 tenor tubas (onstage); 2 bass tubas (onstage); timpani; bass drum; cymbals; triangle; tambourine; tam tam; tubular bells; glockenspiel; xylophone; celesta; 3 harps; pianoforte; strings.

Notice: the naming convention of the movements and their numberings may be slightly different from one recording to another. E.g. the three parts of the 2nd Tableau may - amongst several others - be seen as: Part II, No. 19a, "Disappearance of the Palace and Dissolution of Kascheri's Enchantments"; No. 19b, "Captive Warriors Emerge From Spell"; No. 19c, "General Thanksgiving".

1911 Suite (aka "Concert suite for orchestra No. 1")

(1) Introduction - Kashchei's Enchanted Garden - Dance of the Firebird; (2) Supplication of the Firebird; (3) The Princesses’ Game with Apples; (4) The Princesses’ Khorovod (Rondo, round dance); (5) Infernal dance of all Kashchei's Subjects.

Orchestration: essentially as per the original ballet - the score was printed from the same plates, with only the new endings for the movements being newly engraved.

Notice:

  • Some recordings will list movement no. 1) as three movements.
  • The 2005 remastered edition on Sony with conductor Pierre Boulez calls it "Ballet suite for orchestra", while the same previous 1991 edition on Sony called it "Suite, 1910". One could argue that the later is more correct even if they missed it by a year. The "Ballet suite for orchestra" would have been a more appropriate name for the "1945 Suite" as this compared to the two other orchestral suites contains most of the music from the original ballet score.
  • Might also be referred to as a "Symphonic Suite".

1919 Suite (aka "Concert suite for orchestra No. 2")

(1) Introduction - The Firebird and its dance - The Firebird's variation; (2) The Princesses’ Khorovod (Rondo, round dance); (3) Infernal dance of King Kashchei; (4) Berceuse (Lullaby); (5) Finale.

Orchestration: 2 Flutes (inc. Piccolo); 2 Oboes (inc. English Horn); 2 Clarinets; 2 Bassoons; 4 Horns; 2 Trumpets; 3 Trombones; Tuba; Timpani; Percussion; Harp; Pianoforte (alternating Celesta); Strings.

Notice:

  • Some recordings will list movement no. 1) as two or three movements.
  • Might also be referred to as a "Symphonic Suite".

1945 Suite (aka "Ballet suite for orchestra")

(1) Introduction - The Firebird and its dance - The Firebird's variation; (2) Pantomime I; (3) Pas de deux: Firebird and Ivan Tsarevich; (4) Pantomime II; (5) Scherzo: Dance of the Princesses; (6) Pantomime III; (7) The Princesses' Khorovod (Rondo, round dance); (8) Infernal dance of King Kashchei; (9) Berceuse (Lullaby); (10) Finale.

Orchestration: 2 Flutes (inc. Piccolo); 2 Oboes; 2 Clarinets; 2 Bassoons; 4 Horns; 2 Trumpets; 3 Trombones; Tuba; Timpani; Percussion; Harp; Pianoforte; Strings.

Notice:

  • Some recordings will list movement no. 1) as three movements.
  • Might also be referred to as a "Symphonic Suite".

Popular Influence

The chapter in the animated film Fantasia 2000 based on Stravinsky's piece uses an abridged version of the 1919 suite to tell the story of a spring sprite and her companion elk. After a long winter the sprite attempts to restore life to a forest but accidentally wakes the "Firebird" spirit of a nearby volcano. Angered, the Firebird proceeds to destroy the forest and seemingly the sprite. She is restored to life after the destruction and the forest life is reborn with her. The Fantasia 2000 Firebird chapter is considered an exercise in the theme of life-death-rebirth deities; the depiction of the Firebird in it as a violent, flaming volcanic spirit is not related to Stravinsky's original theme. Arguably, this depiction acts as a literal The Rite of Spring, another Stravinsky ballet used by Disney in the previous Fantasia film.

Stravinsky's work has also had a great deal of influence in musical genres outside of classical. Throughout their career, the progressive rock group Yes have opened their live concerts with an excerpt from The Firebird, and their 1974 song "The Gates of Delirium" is heavily influenced by musical ideas pioneered by Stravinsky. Another prog rock band Manfred Mann's Earth Band used thematic material from The Firebird as the basis for the track Starbird on their album The Roaring Silence.

Electronic musician Isao Tomita arranged a synthesized version of the short 1919 Firebird suite for his 1975 album of the same name.

Cliff Eidelman's score for the 1991 film Star Trek VI: The Undiscovered Country borrows thematic elements from the Firebird.

The ballet was also the inspiration for Osamu Tezuka's Phoenix series.

Hip-Hop band The Beastie Boys Sampled firebird in the song Electrify on the album Hello Nasty.

Noise rock trio Blind Idiot God reinterpretated some themes from the introduction in their song Stravisnky - Blasting Off.

Graeme Murphy and The Australian Ballet colloborated in 2009 on a new Firebird with set and costume designs by the young designer Leon Krasenstein.[6]


Selected recorded versions

Complete Ballet

Firebird Suite

  • Leopold Stokowski recorded The Firebird Suite eight times, more than any other conductor ... with the Philadelphia Orchestra (acoustically) in 1924, and again (electrically) in 1927 and 1935; with the All-American Youth Orchestra in 1941 and the NBC Symphony Orchestra in 1942; with his own Symphony Orchestra in 1950; and in two stereo recordings, with the Berlin Philharmonic in 1957, and finally, at the age of 85, with the London Symphony Orchestra in 1967.
  • Isao Tomita recorded an electronic arrangement of "The Firebird" Suite in 1975 using a Moog III synthesizer and other electronic instruments available at the time.
  • Vincent Montana, Jr, recorded a disco version in 1977 with the Salsoul Orchestra calling the piece "Magic Bird of Fire" on his album Magic Journey.

Excerpts from the Firebird Suite

  • Danse Infernal: Igor Stravinsky conducting the Columbia Symphony Orchestra (released on Columbia Records as MS 7094; disc includes five other Stravinsky compositions)
  • The progressive rock band, Yes used an excerpt from Firebird Suite to open concerts, and also appears as the first track on many live CDs and DVDs.
  • The film-maker Michael Maglaras will use parts of this score in his upcoming film about the American painter, John Marin, entitled, "John Marin: Let the Paint be Paint!"

References

  1. ^ Stephen Walsh: 'Stravinsky, Igor', Grove Music Online ed. L. Macy (accessed 1 April 2008), <http://www.grovemusic.com>
  2. ^ Taruskin, pp576-7
  3. ^ Taruskin, pp.574-5
  4. ^ See Taruskin, p.577-8
  5. ^ http://www.nla.gov.au/balletsrusses/whatson.html
  6. ^ http://www.nla.gov.au/balletsrusses/whatson.html

Sources

External links

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