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STRAVINSKY Petrushka (1947 version)

IGOR STRAVINSKY Petrushka (1947 version) Tableau I 0:22 The Shrovetide Fair 4:50 The Mountebank (Charlatan/Magician) 7:27 Russian Dance Tableau II 10:24 Petrushka’s Room Tableau III 14:34 The Blackamoor / The Moor’s Room 17:09 The Ballerina 17:57 Valse: Ballerina and Blackamoor Tableau IV 21:10 The Shrovetide Fair (Towards Evening) 22:14 The Dance of the Wet-Nurses 25:08 Peasant with Bear 26:34 Gypsies and a Rake Vendor 27:15 Dance of the Coachmen 29:52 Masqueraders 31:30 The Scuffle (Blackamoor and Petrushka) 32:20 Death of Petrushka 33:02 Police and the Juggler 34:13 Vociferation of Petrushka's Ghost Overnight success came to the 28-year-old Igor Stravinsky (1882 – 1971) with the 1910 premiere of The Firebird in Paris. His father, Fyodor Stravinsky had been a star of the Imperial Opera in St. Petersburg and his mother, Anna Kholodovsky, a pianist. Nonetheless, the family wanted their third son to be a lawyer and so he became a dutiful, albeit indifferent student at the university, while simultaneously studying composition with Nikolai Rimsky-Korsakov, the father of one of his classmates. Stravinsky thrived under his light-handed touch and belief that talented students needed little formal instruction, but rather brief grounding in harmony, counterpoint and orchestration with exercises to refine their technique. Sergei Diaghilev first heard Stravinsky’s music in February 1909. Diaghilev was an influential Russian art critic and impresario, whose star had begun to dim in St. Petersburg, but was shining brightly in Paris. There his Ballet Russes was not only revolutionizing the world of dance, but also transforming the early twentieth-century cultural landscape. Diaghilev had been searching for someone to compose music for a ballet based on tale of the Firebird, a magical bird with golden feathers and crystal eyes that appears in many Russian folk stories, with which he planned to open his 1910 season. Impressed by what he heard, and not having much luck elsewhere, Diaghilev commissioned Stravinsky to compose the score. The gamble paid off, as The Firebird was greeted rapturously by the Parisian elite and Stravinsky became the toast of the town. Stravinsky would next turn to the tale of Petrushka, a hand puppet popular during Russian pre-Lenten fairs. Originally intended as a work for piano and orchestra, Diaghilev immediately sensed its theatrical appeal and persuaded Stravinsky to recast it as a ballet. As adapted by Stravinsky, with considerable assistance from the Ballet Russes’ scenery and costume designer Alexandre Benois, it is a love triangle played out amongst three puppets brought to life by a sinister magi-cian. Choreographer Mikhail Fokine included merrymakers, street dancers, peddlers and a dancing bear in the crowd that witnesses Petrushka’s rejection by the beautiful ballerina whom he loves. Petrushka then challenges his rival, a dashing Moor to a duel, only to be pierced by his scimitar. The crowd is shocked by the violence, and to calm them, the magician shows that Petrushka was but a mere puppet made of straw. Petrushka’s spirit rises from the dead and threatens the magician who flees in terror. The ballet’s premiere on 13 June 1911 with Pierre Monteux conducting was another triumph for the Ballet Russes and Stravinsky. Its success had many fathers, including the composer’s willingness to adapt his music to his collaborators’ needs and Vaslav Nijinsky’s moving performance as the title character. The music has never lost its appeal, in part due to the actual folk melodies that Stravinsky wove into the score and the rhythms and orchestral colours that blur the distinction between fantasy and reality. This duality in the puppets’ nature is best depicted by the ‘Petrushka chord’ – the C major (all white keys) and F-sharp major (all black keys) triads sound-ing simultaneously – that is heard whenever he appears. In 1947, Stravinsky revised the score for a smaller ensemble, making changes in the orchestration and simplifying some of its most difficult rhythmic passages. His motivation was due in part to reap the profit from its popularity, as his works for the Ballet Russes did not receive international copyright protection. In the intervening years, he had also become a bit more conservative. The outcome reflects the middle-aged Stravinsky’s view of his youthful masterpiece, and thus Petrushka found a home in the concert hall for which it was originally destined. Singapore Symphony Orchestra Okko Kamu, Principal Guest Conductor (1995-2017) An SSO Encore. Recorded live at the Esplanade Concert Hall on 24 March 2017. #SSOPlayOn