Chez Stravinsky

[Mahlerian]

anyone? Persephone...

Not my favorite, but I'll get to it soon in my chronological traversal, and we'll see how my view has changed.  The music is okay, very pretty, but it lacks the verve of the other Neoclassical works, I feel.

[Scion7]

another link:   https://www.youtube.com/watch?v=bdiyCf7RdyI

[snyprrr]

Not my favorite, but I'll get to it soon in my chronological traversal, and we'll see how my view has changed.  The music is okay, very pretty, but it lacks the verve of the other Neoclassical works, I feel.

And here I was thinking it was a little mooore verve-y

[Mirror Image]

Stravinsky Ballet of the Week -

Jeu de cartes



Jeu de Cartes (The Card Game) is cleverly described as a ballet in three deals. Completed in 1936 for the newly formed American Ballet, whose choreographer was the young George Balanchine, the scenario deals with the game of poker, one of Stravinsky's favorite card games. The main character is the deceitful Joker, who fashions himself unbeatable, owing to his chameleonic ability to become any card. There are also other cards -- Queens, Aces -- and several card players portrayed in the ballet.

In the first two deals, the all-confident Joker dominates the proceedings, even if he does not always win. In the final deal, however, he is vanquished by a royal flush, ending his menace. Though the music is generally light, it clearly has a satirical side and the devious Joker is viewed by some to represent evil, perhaps the devil. Because of the growing tensions in Europe and the rise of Nazism during the time of its composition, many have also seen the ballet as a sort of allegory of the developing strife.

Jeu de Cartes contains several allusions to the works of other composers, a not atypical trait in much of Stravinsky's music. The second deal contains several notable instances: the first variation is related to the opening of the second movement of Beethoven's Symphony No. 8, and the fourth variation recalls Strauss' Die Fledermaus. In the Third Deal, Rossini's The Barber of Seville Overture is practically quoted. There are more than a few additional snippets from the music of other composers sprinkled throughout the score, including that of Tchaikovsky, Ravel, Delibes, and even from Stravinsky himself (the Violin Concerto, Mavra, and other works). But the main theme of the ballet, heard at the outset of each movement, may be the most remarkable appropriation since it appears to be a reworking or slightly veiled rendition of the famous "Fate" motto from Beethoven's Symphony No. 5. Near the end of the ballet, in fact, it appears almost unaltered from its form in the Beethoven symphony.

After the opening of the First Deal, the music becomes subdued and the work's episodic nature becomes apparent as a variety of inventive sequences and thematic ideas follow. Before the end of this deal the music works into a near-frenzy, then subsides once more.

After the work's main theme is stated at the outset of the Second Deal, the music retreats to a generally calm mood, then becomes more animated as the series of variations progresses. The Third Deal features the theme at the outset, after which the music never relaxes. A Ravelian waltz and the Rossini quotation suggest fun and satire, but also perhaps the deceptions of the Joker. Near the end, the "Fate" motif appears on the horns, then the oboes. The music concludes with the main theme asserting itself, but neither triumphantly nor jovially.

It should be noted that the quotations and allusions sound very much like Stravinsky, never like a reworking of the source music as the composer did in his ballet Pulcinella, fashioned from several works of Pergolesi. Jeu de Cartes is very much in the tradition of the composer's neo-Classical style, full of wit and brilliant orchestration.

A concert performance of the music typically lasts nearly 25 minutes. The composer conducted the first performance of the ballet, which took place at the Metropolitan Opera House in New York City on April 27, 1937.

[Article taken from All Music Guide]

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Like all Stravinsky ballets, this is an utterly fascinating work. I imagine the choreography would be something to behold considering the dancers are dressed like cards. Anyway, this ballet is full of cheeky fun and I love it. I figured it'd start a series of articles on Stravinsky's ballets. I urge everyone to listen to Jeu de cartes and let me know what you think. Any favorite performances?

[Rons_talking]

anyone? Persephone...

While I find the narration distracting at times, the music of Persephone is stunning. Not too dry but lyrical, warm and playful. Sadly, it seems neglected and is unknown to many. To me, it's right up there with Apollo as a great work of his neoclassic years.

[Karl Henning]

Aye, Perséphone is a beauty.

The latest Stravinsky I've listened to was the Ogdon/ASMitF/Marriner account of the Capriccio.  Arguably a minor, even BAU work, but really great fun.

[Drasko]

Aye, Perséphone is a beauty.

The latest Stravinsky I've listened to was the Ogdon/ASMitF/Marriner account of the Capriccio.  Arguably a minor, even BAU work, but really great fun.

Indeed a beauty. I love Persephone, but it's one of those pieces I love only in specific performances.
Those few disparate elements (narrator, tenor, chorus) really have to come together and only Stravinsky's own and Andrew Davis' recordings click for me, Tilson Thomas and Nagano don't, for instance. I've yet to see Currentzis, choreographed on DVD.

I love Capriccio as well, but never can disassociate it from Balanchine's choreography (Rubies):

https://www.youtube.com/v/51JELveLPkg

[Karl Henning]

Indeed a beauty. I love Persephone, but it's one of those pieces I love only in specific performances.
Those few disparate elements (narrator, tenor, chorus) really have to come together and only Stravinsky's own and Andrew Davis' recordings click for me, Tilson Thomas and Nagano don't, for instance. I've yet to see Currentzis, choreographed on DVD.

I think I have lucked out, then, as I have only heard Stravinsky's own and Andrew Davis' 

[Drasko]

... and Currentzis conducted staged performance from Teatro Real is complete, with English subtitles, on youtube on EuroArts official channel. I'll watch it tonight.

https://www.youtube.com/v/Fa_qpv4PA64 

[Mirror Image]

I think I have lucked out, then, as I have only heard Stravinsky's own and Andrew Davis' 

FWIW, I have no quibbles with Nagano's Perséphone.

[ritter]

But the main theme of the ballet, heard at the outset of each movement, may be the most remarkable appropriation since it appears to be a reworking or slightly veiled rendition of the famous "Fate" motto from Beethoven's Symphony No. 5. Near the end of the ballet, in fact, it appears almost unaltered from its form in the Beethoven symphony.

Perhaps you're aware of it already, but Stravinsky himself deals with the origin of  that "fate" theme in one of his books of conversations with Robert Craft. He says it's based on the words he remebered the croupier of a casino (in a German town he used to hoilday at with his parents as a child) uttered each time he dealt: "Ein neues Spiel, ein neues Glück" ("New game, new luck"). The words (in German) fit the music perfectly (I find myself singing them in my mind every time I listen to the ballet  ).

Jeu de cartes is not my favourite Stravinsky by any means, but as you rightly point out, John, it's full of fun....

... and Currentzis conducted staged performance from Teatro Real is complete, with English subtitles, on youtube on EuroArts official channel. I'll watch it tonight.

https://www.youtube.com/v/Fa_qpv4PA64 

Performnaces I stupidly missed (the Teatro Real is about 20 minutes walking distance form my home)  . Not that I'm particularlty keen on Perséphone i(and the coupling with Tchaikovsky's Mazeppa wasn't too appealing to me either), but the opportinity of seeing a neglected Stravinsky score fully-staged is something that doesn't come along every day...

[Mirror Image]

Perhaps you're aware of it already, but Stravinsky himself deals with the origin of  that "fate" theme in one of his books of conversations with Robert Craft. He says it's based on the words he remebered the croupier of a casino (in a German town he used to hoilday at with his parents as a child) uttered each time he dealt: "Ein neues Spiel, ein neues Glück" ("New game, new luck"). The words (in German) fit the music perfectly (I myself find myself singing them in my mind every time I listen to the ballet  ).

Jeu de cartes is not my favourite Stravinsky by any means, but as you rightly point out, John, it's full of fun....

I was just reading the other day in a magazine I had bought called Listen, which discusses/reviews classical music, they had a whole feature article on Jeu de cartes and it was quite an interesting read. "New game, new luck." This sounds like the philosophy of this ballet indeed.

[Mahlerian]

Perhaps you're aware of it already, but Stravinsky himself deals with the origin of  that "fate" theme in one of his books of conversations with Robert Craft. He says it's based on the words he remebered the croupier of a casino (in a German town he used to hoilday at with his parents as a child) uttered each time he dealt: "Ein neues Spiel, ein neues Glück" ("New game, new luck"). The words (in German) fit the music perfectly (I myself find myself singing them in my mind every time I listen to the ballet  ).

There's a part later in Jeu de Cartes (Deal 3) where the music plays with the Beethoven 5 reference, and is about to state it before jumping off in a different direction suddenly.

[Mirror Image]

There's a part later in Jeu de Cartes (Deal 3) where the music plays with the Beethoven 5 reference, and is about to state it before jumping off in a different direction suddenly.

Jeu de cartes quotes a lot of other music, too, not just Beethoven.

[Mahlerian]

Jeu de cartes quotes a lot of other music, too, not just Beethoven.

Yes, Rossini stands out as well.  It's a fun score.

[Mirror Image]

Yes, Rossini stands out as well.  It's a fun score.

It sure is! Of course, I never hinted that this ballet was a profound work, but sometimes it's good to let your hair down and unbutton your shirt and that 'having a good time' element is very strong in Jeu de cartes. It also keeps you on your toes --- metaphorically speaking of course.

[Karl Henning]

I have not yet been really fair to Jeu de cartes.  Soon, perhaps!

[Karl Henning]

FWIW, I have no quibbles with Nagano's Perséphone.

I haven't heard it, so I have no opinion.  And it is quite possible that if I hear it, I should like it . . . only reciprocally, the composer's and Davis's recordings satisfy me entirely 

[Mirror Image]

I have not yet been really fair to Jeu de cartes.  Soon, perhaps!

Oh, I don't see how any self-respecting Stravinskian, such as yourself, Karl, wouldn't enjoy the work. Comic mischief, sarcastic jabs, and derailed punchlines are the flavor of the day in Jeu de cartes.

[Mirror Image]

I haven't heard it, so I have no opinion.  And it is quite possible that if I hear it, I should like it . . . only reciprocally, the composer's and Davis's recordings satisfy me entirely 

I need to pick up Davis' recording. I already own Stravinsky's, which I haven't heard in eons.