London Daybreak Strategy

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Two years ago, the term Daybreak Sessions was created by Tomorrowland for the 10-year anniversary edition of festival. The concept highlights the rich musical palette offered at Tomorrowland and is an inspiring way to make the transition from the quiet magic as the doors open to the pure energy Madness that breaks loose in the evenings on the MainStage. This year, Tomorrowland will be releasing its first Daybreak Sessions compilation. This musical journey is a way for festival-goers to discover that these artists have much more to offer than what they’re best known for, and the artists themselves are hugely enthusiastic about the chance to do something completely different.

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The first of three volumes focusing on Stravinsky’s music conducted by Vladimir Jurowski includes his Opus One, the Symphony in E-flat, unmistakably Russian and that young Igor was a pupil of Rimsky-Korsakov. It’s a likeable piece, leaning to Borodin in places, confident and imaginative, with a featherlight Scherzo, an intensely eloquent Largo, and a Finale of Imperial swagger, handsomely brought off by the LPO and Jurowski in immediate and clear sound, the very ideal of the Royal Festival Hall. Mezzo Angharad Lyddon is excellent in Faun and Shepherdess, straight out of the Tchaikovsky songbook, and anticipations of the Stravinsky to come (Firebird anyway) surface with Scherzo fantastique, given a buoyant outing, with fantasy and clarity in equal measure. The ‘lost and found’ Funeral Song – interesting because Stravinsky wrote it (in memoriam Rimsky) rather than for its musical worth, although Jurowski finds more than some previous performances (the piece went viral a few years ago). A shame that this first disc does not include Fireworks, Stravinsky’s Opus Four, for then his first five Opuses would be together, although that way of cataloguing his works would cease.

The first of three volumes focusing on Stravinsky’s music conducted by Vladimir Jurowski includes his Opus One, the Symphony in E-flat, unmistakably Russian and that young Igor was a pupil of Rimsky-Korsakov. It’s a likeable piece, leaning to Borodin in places, confident and imaginative, with a featherlight Scherzo, an intensely eloquent Largo, and a Finale of Imperial swagger, handsomely brought off by the LPO and Jurowski in immediate and clear sound, the very ideal of the Royal Festival Hall. Mezzo Angharad Lyddon is excellent in Faun and Shepherdess, straight out of the Tchaikovsky songbook, and anticipations of the Stravinsky to come (Firebird anyway) surface with Scherzo fantastique, given a buoyant outing, with fantasy and clarity in equal measure. The ‘lost and found’ Funeral Song – interesting because Stravinsky wrote it (in memoriam Rimsky) rather than for its musical worth, although Jurowski finds more than some previous performances (the piece went viral a few years ago). A shame that this first disc does not include Fireworks, Stravinsky’s Opus Four, for then his first five Opuses would be together, although that way of cataloguing his works would cease.