Igor Stravinsky - Symphonies; Ode; The Fairy's Kiss (Alexander Gibson; Neeme Järvi)

Information

Composer: Igor Stravinsky

CD1

• Symphony No. 1 in E flat, Op. 1
• Symphony in C
• Ode (Elegiacal Chant in three parts)

CD2

• Symphony in Three Movements
• Symphonies of Wind Instruments
• The Fairy's Kiss (Le baiser de la fée)

Royal Scottish National Orchestra

Alexander Gibson & Neeme Järvi, conductors

Nash Ensemble / Simon Rattle, conductor (Symphonies of Wind Instruments)

Compilation: 1999

Label: Chandos

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Review

This set deserves a favourable reception. It is just a pity that Stravinsky's other symphony, the sublime Symphony of Psalms is not included here.

Apart from one performance, the other five works are well performed. The exception is a tediously dull rendering of the Symphonies of wind instruments. Rattle's performance is sometimes a misrepresentation of the score. His tempi are questionable, he is not in control of the pulse of the music with its many changes of time signature; there is no attack; there is no stringency which is essential to this score; there is little tension and the performance lacks vitality due to the conductor's lack of understanding of this piece. I consulted with other professionals about this performance to avoid any accusations of personal bias. They were in full agreement with me and I regret I cannot put their learned and objective remarks into print. This troubles me for if someone were introduced to this work by this performance and were put off by it, injustice would be done.

The Symphony no l is a very attractive tonal work. It is beautiful, fresh and exquisitely written. It teems with melodic ideas, choice harmonies and a fecundity one associates with Mendlesshon. The piece is sheer joy and Gibson, who does understand Stravinsky, and the recording bring out the works many delights. This is a priceless jewel in the line of the splendid Glazunov's symphonies which are overdue for revival.

The Symphony in C is Stravinsky at his best and most decisive. It was written about the time of three personal bereavements ... his sister, Ludmilla, his wife Catherine and his mother all died within eight months during 1938-9. The symphony is a model for budding composers as to its excellent continuity, consistency and unifying thematic material. As with all mature Stravinsky the excellent rhythmic interest is always a welcome feature. His music is never intended to be dull, unless you hear Rattle's performance, but gloriously alive.

The Symphony in three movements is also wonderfully vibrant. It is serious with a concertante part for the piano. It was written during the Second World War but, as Francis Routh points out in his excellent booklet, it is not specifically a war symphony. The third movement does, however, give a commentary on the war with hints of goose-stepping German soldiers and a vulgar tuba part. Best of all is Stravinsky's wonderful send-up of the fugue, a mainly German musical form, or device, which is so coldly clinical, restrictive and academic that Stravinsky pokes fun at it ... simply wonderful!

I would have preferred a move aggressive approach to this work than that which the late Sandy Gibson gives it but it is a good workman-like performance of another 20th century masterpiece.

Serge Koussevitzky commissioned the Ode in 1943 following the death of his wife Natalie two years earlier. It is a solemn elegiac piece in three sections of which the second, eclogue, has a surprising liveliness. But it is the expressive music that is the heart of this piece and, thankfully, there is no sickly wallowing.

The Fairy's Kiss is a homage to Tchaikovsky and Noel Goodwin's notes should be read to clarify which of Tchaikovsky's themes are used. There is some lovely music which Järvi lingers over a little too much for my taste but then this is not the great or original Stravinsky, the giant among 20th century composers. I have no doubt that he is one of the greatest composers of all time.

Go and buy the discs. The Three Symphonies are deserving of our admiration. The are fine works. The performances are reissues of recordings made between 1978 - 1985.

— David Wright

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Igor Stravinsky (June 17, 1882 – April 6, 1971) was a Russian composer. Son of an operatic bass, he studied privately with Nikolai Rimsky-Korsakov from 1902 to 1908. Soon after the impresario Sergei Diaghilev commissioned Stravinsky to write three ballets for the Ballets Russes: Firebird (1910), Petrushka (1911) and The Rite of Spring (1913). The last of which, with its shifting and audacious rhythms, was a landmark in music history. Later Stravinsky also adopted Neoclassicism and serialism in his composition. His major Neoclassical works include Oedipus rex (1927) and the Symphony of Psalms (1930).

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Alexander Gibson (11 February 1926 – 14 January 1995) was a Scottish conductor. Educated in Glasgow and London, and trained under figures such as Igor Markevitch, he gained early experience at Sadler's Wells Opera. In 1959, he became chief conductor of the Scottish National Orchestra, serving for 25 years and elevating its global profile through recordings and tours. A founding force behind Scottish Opera, Gibson championed both classical and contemporary works. Renowned for disciplined yet expressive performances, he built a substantial recording legacy, particularly in Sibelius, Elgar, and opera repertoire.

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Neeme Järvi (born 7 June 1937 in Tallinn) is an Estonian conductor. He studied at the Leningrad Conservatory under Evgeny Mravinsky and Nikolai Rabinovich, among others. Järvi was Principal Conductor and Music Director of the Gothenburg Symphony (1982–2004), Royal Scottish National Orchestra (1984–1988), Detroit Symphony Orchestra (1990–2005) and Orchestre de la Suisse Romande (2012–2015), among others. He made over 400 recordings for labels such as BIS, Chandos and Deutsche Grammophon and best known for his interpretations of Romantic and 20th century classical music.

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