5 Mart 2021 Cuma

Igor Stravinsky: The Soldier's Tale (L'Histoire du Soldat), Suite – Musicians from the Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 4K)

Music Archive Mart 05, 2021 Gothenburg Symphony Orchestra, Igor Stravinsky, Santtu-Matias Rouvali

The theme could not be more relevant when Stravinsky wrote the music for the performance The Soldier's Tale in 1917-1918 – the world was in flaming war.

Like many artists in Europe, Stravinsky had fled to neutral Switzerland, where he met the author Charles F. Ramuz. His story of the soldier who sold his violin to the devil for glory and money was also a reflection of the artists' terms. Freedom or success? Stravinsky was perhaps proof that both were possible. The music, influenced by jazz and with elements such as ragtime and tango, does very well on its own. This is shown by Santtu-Matias Rouvali and musicians from the Gothenburg Symphony Orchestra in the suite of vivid movements Stravinsky compiled from the original music.

Source: gso.se/en/

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Stravinsky had first met the Swiss writer, Charles F. Ramuz in 1915 and worked with him on the French version of Renard and Les Noces so it was not surprising when he again collaborated with him on the L'Histoire du Soldat a few years later. The war had understandably affected the financial situation and both composer and librettist wanted to write something which could be produced simply and economically. L'Histoire du Soldat is scored for dancer, three speaking parts and seven instruments and has proved to be successful on an almost unbelievable international scale since its first performance in Lausanne in September 1918 (described in the programme as "to be read, played and danced"). The story tells of the Soldier who has a magic violin which he trades with the Devil who promises to fulfil his every wish. One of his many encounters involves his curing the lovely daughter of a King but throughout the piece the Devil proves a tricky protagonist. The Concert Suite was first performed in London's Wigmore Hall in July 1920.

Source: Sheila MacCrindle (wisemusicclassical.com)