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Stravinsky - Complete Music for Violin & Piano (Marwood, Adès)

Recorded 2008 | Released 2010

"This fabulous two-CD set offers so many pleasures it’s hard to know where to begin. Let’s start with the music, which, apart from the Duo Concertant, consists of Stravinsky’s arrangements of his own music. There’s Tchaikovskian grace in the Divertimento, fantasy chinoiserie in The Nightingale, stamping Russian fervour in Petrushka and cool neo-classicism in the Duo. But, of course, it all sounds like pure Stravinsky and miraculously apt in its new instrumental dress. (...) In all, it’s a marvel." (Daily Telegraph)

Personnel:

Anthony Marwood: violin

Thomas Adès: piano

Recording:

December 2008, Concert Hall, Wyastone Estate, Monmouth, United Kingdom

Hyperion CDA67723

Info (Hyperion):

Stravinsky’s collaboration with the violinist Samuel Dushkin was a great artistic success, generating new works for the repertoire as well as arrangements of some of the composer’s most tuneful and popular works. Of these arrangements, Dushkin wrote that Stravinsky seemed ‘to go back to the essence of the music and rewrite or recreate the music in the spirit of the new instrument’. Reviewing the current performers in The Independent, Bayan Northcott writes that ‘these are no ordinary transcriptions. In reducing items from The Firebird or The Fairy’s Kiss to the violin and piano medium, Stravinsky rethought and respaced their every chord’.

Track listing:

CD 1

1. Suite d'après des thèmes, fragments et morceaux de Giambatista Pergolesi: Introductione

2. Suite d'après des thèmes, fragments et morceaux de Giambatista Pergolesi: Serenata

3. Suite d'après des thèmes, fragments et morceaux de Giambatista Pergolesi: Tarantella

4. Suite d'après des thèmes, fragments et morceaux de Giambatista Pergolesi: Gavotta con due variazioni

5. Suite d'après des thèmes, fragments et morceaux de Giambatista Pergolesi: Minuetto e finale

6. Pastorale

7. Airs du rossignol

8. Marche chinoise

9. Duo Concertant - 1. Cantilene

10. Duo Concertant - 2. Eglogue I

11. Duo Concertant - 3. Eglogue II

12. Duo Concertant - 4. Gigue

13. Duo Concertant - 5. Dithyrambe

CD 2

1. Berceuse

2. Prélude & Ronde Des Princesses

3. Scherzo

4. Chanson Russe

5. Divertimento - 1. Sinfonia

6. Divertimento - 2. Danses Suisses

7. Divertimento - 3. Scherzo

8. Divertimento - 4a. Pas De Deux: Adagio

9. Divertimento - 4b. Pas De Deux: Variation

10. Divertimento - 4c. Pas De Deux: Coda

11. Danse Russe

12. Tango

13. Ballade

14. Suite Italienne - 5. Scherzino

15. La Marseillaise

Reviews:

The Daily Telegraph

This fabulous two-CD set offers so many pleasures it’s hard to know where to begin. Let’s start with the music, which, apart from the Duo Concertant, consists of Stravinsky’s arrangements of his own music. There’s Tchaikovskian grace in the Divertimento, fantasy chinoiserie in The Nightingale, stamping Russian fervour in Petrushka and cool neo-classicism in the Duo. But, of course, it all sounds like pure Stravinsky and miraculously apt in its new instrumental dress. Enjoying Stravinsky’s astounding skill at re-imagining an orchestral score for just two instruments is another pleasure. Then there are the performances, which have a wonderful lived-in quality – unsurprisingly, as Adès and Marwood have played the music on tour. Adès handles the finger-twisting difficulties of the Duo Concertant with total aplomb, and has exactly the left incisive, luminous and chaste sound. Marwood, too, has that springy balletic quality always needed in Stravinsky, but he finds a myriad of colours to go with it: sly and sentimental in the “Chanson Russe” from Mavra, tender in the Duo. In all, it’s a marvel.

BBC Music Magazine

This substantial crop of violin and piano works mostly came about due to Stravinsky’s concert-giving partnership with the violinist Samuel Dushkin in the 1930s. Besides the Duo concertant, which is the only original creation, Stravinsky’s arrangements and/or re-compositions of his earlier music sometimes exist in more than one version, presenting a problem about what should constitute a ‘complete’ recording.

Anthony Marwood and Thomas Adès have reasonably opted for a single statement of each work, so that their chosen Pulcinella suite arrangement is the pre-Dushkin one of 1925 – not the later Suite italienne, although they also include the Scherzino which was an additional part of this.

Adès’s touch with the piano parts is at once live-wire and beautifully stylish, with Marwood matching this flair for deftly characterised light and shade. The Duo concertant can sometimes seem a cold and (in the opening ‘Cantilène’) even abrasive statement, but not when played with this degree of poise and bombproof technical command.

The Pulcinella suite and Divertimento from The Fairy’s Kiss both scintillate from start to finish. Memories of Isabelle van Keulen’s recordings of (mostly) the same repertory (on Philips, currently unavailable) aren’t entirely effaced – for instance her subtler way with the roguishness of the ‘Chanson russe’ from Mavra – but this is splitting hairs. The recorded sound, too, has marvellous presence.

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