Symphonic experiments
and kiss of fate from the muse
At first glance, there is no connection between the two works recorded on this SACD – the Suite No. 3 by Tchaikovsky and the Divertimento from Stravinsky’s Le baiser de la fée – and yet on many different levels the compositions are definitely more than just loosely linked to one another. Thus, both composers treated the seemingly rather archaic musical models on which they each based their composition in an individual and contemporary manner. In his Op. 55, Tchaikovsky examined the model of the late Baroque suite to see how it could be used in a modern symphonic context; and, in his ballet Le Baiser de la Fée, Stravinsky in his turn subjected Tchaikovsky’s musical idiom to a more intensive investigation with regard to the employment of an orchestra, the symphonic extension and hidden meaning. Consequently, the linking of the works takes place at the “meta” level of “music on music.”

Between 1878 and 1887 – i.e. in the years that lapsed between the writing of his Symphony No. 4 and his Symphony No. 5 – Tchaikovsky composed four orchestral suites, of which only the fourth, his Mozartiana, is still assured of a place (albeit on the outer limits) in modern-day concert repertoire. The exclusion of the other works is unjust: after all, the three remaining suites – Op. 43, Op. 53 and Op. 55 – were non-programmatic “experimental fields” in which Tchaikovsky was to develop the distinctive features which characterize his late symphonic works.

Tchaikovsky wrote his Suite No. 3 in G for large orchestra, Op. 55 in Kamenka in 1884 and it received its première on January 28, 1885 in St. Petersburg under the baton of the German conductor Hans von Bülow. If the first movement did not have such a clear rondo-type structure (i.e. lacking in the dialectics between the themes, which is a requisite of the sonata form), then its four-movement structure and tendency towards symphonic design could easily lead one to perceive this as a symphony.

As far as expression is concerned, the first movement remains in an elegiac sphere – this is endorsed by the gentle, cantabile themes. The rhythmic sophistication and the sighing theme of the Valse mélancolique in E minor which then follows represent a typical symphonic waltz by Tchaikovsky, who approached the genre here in an unusual manner. The eerie Scherzo contains pointedly dancelike elements and cuts through the mood of the work, which so far had been elegiac, with its fiery tarantella and its virtuoso dialogue between the winds and the strings. Here, there is already more than just a slight hint of the inner movements of the Pathétique. The most important and, simultaneously, longest movement – lasting more than half the entire duration of the Suite – is the Finale, which consists of a series of variations based on a lyrical theme played by the strings. Whereas the first six variations are still separated from one other, the remaining six flow on into one another without a break, and in that way evoke – once again indicating the idea of the symphony – a final coherence.
Igor Stravinsky’s Pulcinella marks the beginning of his transition to neo-classicism, which culminated in his Oedipus Rex, and received due acknowledgement with his later ballets Apollon Musagète and Le baiser de la fée. In this phase, Stravinsky continually drew on the massive fountainhead of Western music from the past. In this context, Reinhard Schulz stated that Stravinsky’s music was marked “at its strongest by metaphorical characteristics,” whereas his own characteristics appeared to be “concealed by a mask”. To put it more simply, Stravinsky took pleasure in playing with strange content, as can be gathered from the ballet Le baiser de la fée and the resultant concert suite.
The one-act ballet-allegory, which Stravinsky wrote while staying in the Savoy Alps and in Nice between April and October 1928, is based on the fairy-tale The Snow Queen by the Danish author Hans Christian Andersen. Stravinsky described the story in his own words: “A child is marked at birth by the kiss of a fairy; thus she separates it from its mother. Twenty years later, as the young man is experiencing the moment of his greatest happiness, she again gives him the kiss of fate and thus removes him from his earthly existence, in order to keep him with her for ever in the greatest bliss.”

The work was commissioned by the exiled Russian dancer Ida Rubinstein for the 35th anniversary of Tchaikovsky’s death. Thus Stravinsky provided the composition with the following dedication, and at the same time declared his appreciation of the allegory: “I dedicate this ballet to the memory of Pjotr Tchaikovsky, whose muse is represented by this fairy, and turned into an allegory. In a similar manner, this muse marked him out by her kiss of fate, the mysterious mark of which can be traced throughout the entire oeuvre of the great artist.” The list of songs and piano pieces by Tchaikovsky, which Stravinsky used as a musical framework for the ballet, is a long one, and the subtle manner in which he not only orchestrated the apparently innocuous models in a highly artistic manner, but also effortlessly and artfully moulded them to his own musical idiom, is one of the greatest achievements of his middle creative period.
Thanks to its elevation to the symphonic level and its cryptic radiance, the rather unsophisticated and innocuous basic material is given consequence and depth of significance, two features which also continually pop up between the lines in Andersen’s story.
Stravinsky also maintained the four-movement structure of the ballet in his concert suite entitled Divertimento, which dates from 1934 (with a 1949 revision). However, the suite ends with the Pas de deux, and deviates more from the general form in the dancelike sections, and is also more typical of chamber-music in the more lyrical parts than is the ballet version dating from 1950.

Vladimir Jurowski
Vladimir Jurowski was born in Moscow, but moved with his family to Germany in 1990, finishing his studies at the Music Academy in Dresden and Berlin. In 1995 he made a highly successful debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, which launched his international career.  Since then he has been a guest at some of the world?s leading opera houses such as the Royal Opera House Covent Garden, Opéra Bastille de Paris, Welsh National Opera, Dresden Opera, Komische Oper Berlin and Metropolitan Opera, New York.
In January 2001 Vladimir Jurowski took up the position as Music Director of Glyndebourne Festival Opera and in early 2003 was also appointed Principal Guest Conductor of the London Philharmonic Orchestra.  Recently it has also been announced that he has been appointed Principal Guest Conductor of the Russian National Orchestra.
Vladimir Jurowski has made highly successful debuts with a number of world’s leading orchestras including the Los Angeles Philharmonic, Berlin Philharmonic, Rotterdam Philharmonic and Oslo Philharmonic. Future engagements include debuts with such orchestras as the Dresden Staatskapelle, Royal Concertgebouw, Philadelphia and Pittsburgh Symphony orchestras.
Recent operatic engagements have taken him to the Metropolitan Opera for The Queen of Spades, to Glyndebourne for Die Zauberflöte, The Miserly Knight and Gianni Schicchi and to Welsh National Opera for a highly successful new production of Wozzeck. This summer (2005) he conducts Rossini’s La Cenerentola and Verdi’s Otello at Glyndebourne.  Next season (2006) he makes his debut at La Scala conducting Eugene Onegin.

“The Russian National Orchestra, under its Principal Guest Conductor makes a wonderful job of these two colourful and tuneful works. I recommend it unreservedly
---John Phillips, musicweb.uk

“..this may be the label’s freshest, most charismatic offering to date”
-David Gutman, International Record Review

“Listen to the opening moments of Tchaikovsky's third orchestral suite, under Vladimir Jurowski, and significant virtues immediately register…fine-tipped detail and fleet execution. Both works are luminously recorded.”
--Rob Cowan, The Independent

“Picture-perfect Jurowski proves his class…With exceptional vivid sound, recorded by PentaTone’s Dutch engineers in Moscow, this disc cannot be recommended too highly
--Edward Greenfield, Gramophone

“The rissian National Orchestra, under its Principle Guest Conductor makes a wonderful job of these two colourful and tune ful works. I recommend it unreservedly.”
John Phillips, Musicweb

“This recording certainly serves to reinforce Jurowski’s reputation as a rising musical megastar”
--Jessica Duchen, Classic FM (ORCHESTRAL DISC OF THE MONTH)

“The performances are a consistent delight, and Jurowski is proving himself one of the rising podium stars, especially in his native Russian music.
--Hugh Canning, Sunday Times

" The brilliant Jurowski secures refined but characterful playing from the Russian National Orchestra, backed up with the usual PentaTone recording finesse. Even played on conventional equipment, this SACD sounds superb. …A delightful disc",
--Geoff Brown The Times

“The playing is superb, with Jurowski recognising the power of Tchaikovsky's music in his Third Suite to transcend its balletic material in search of symphonic coherence. His Stravinsky, too, captures the music's wit and ingenuity. The two composers' styles might suggest an incongruous marriage, but such is Stravinsky's skill that they complement each other with charismatic allure.
Pentatone's recorded sound is rich and detailed, just what is required for this sumptuously scored music. “
Matthew Rye-The daily Telegraph (classical CD of the week)

“Vladimir Jurowski lends intelligence, a keen ear and a generous heart to both works here….In short, this is a discerning production for discerning listeners.”
--Colin Anderson, classicalsource.com