Stravinsky Paarvo Jarvi

This breath-taking new album features exceptional works by two of the most important and influential composers of the 20th century: The Violin Concerto No.1 by American minimalist composer Philip Glass and Igor Stravinsky's neoclassical Violin Concerto in D major.

The Rite of Spring is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1913 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Vaslav Nijinsky with stage designs and costumes by Nicholas Roerich. When first performed at the Théâtre des Champs-Élysées on 29 May 1913, the avant-garde nature of the music and choreography caused a sensation. Many have called the first-night reaction a "riot" or "near-riot", though this wording did not come about until reviews of later performances in 1924, over a decade later. Although designed as a work for the stage, with specific passages accompanying characters and action, the music achieved equal if not greater recognition as a concert piece and is widely considered to be one of the most influential musical works of the 20th century.

Maximilian Steinberg studied at the St Petersburg Conservatory from 1901 – simultaneously with studying natural sciences at the city’s university. At the conservatory, where he was a contemporary of Stravinsky, initially a friend, Steinberg’s teachers included Glazunov – the dedicatee of his First Symphony – and Rimsky-Korsakov. The latter took a shine to Steinberg, recognising him as a significant talent and took opportunities to further his career, to the chagrin of Stravinsky. In due course, Steinberg married Rimsky’s daughter. He remained in St Petersburg (later Leningrad) for the rest of his life, becoming director of the conservatory in 1934. Among his pupils at the conservatory was Shostakovich.

Bohuslav Martinu (1890-1959) only began composing symphonies after fleeing the Nazis into American exile in 1941. He was of a generation that saw the symphony as passe Bartok was born in 1881 and Stravinsky in 1882, and Martinu was born in 1890 while Mahler was born in 1860, and Sibelius and Nielsen in 1865. Modernism entailed new forms and styles, and while Martinu was never a modernist he did inhabit a soundworld with a lighter touch full of dance rhythms, not heavy, four-square symphonies.

This two-disc set marks the beginning of a new project devoted to Tchaikovsky's ballet scores. We start the survey with the complete score of The Sleeping Beauty, recorded on SACD. Swan Lake and The Nutcracker will follow in 2013 and 2014, respectively. Tchaikovsky was approached by the Director of the Imperial Theatres in St Petersburg, Ivan Vsevolozhsky, in 1888 about a possible ballet adaptation of Charles Perrault's La Belle au bois dormant (The Sleeping Beauty).

This 1989 compilation of Estonian orchestral music, splendidly performed by Neeme Järvi and the Scottish National Orchestra, outlines the development of a national musical identity that only gradually became free of external influences. The Julius Caesar Overture (1896) by Rudolf Tobias, the Symphony in C sharp minor (1908) by Artur Lemba, and Heino Eller's Videvik (1917) show the slow but steady progression from slavish imitation of the Russian Romantics – particularly Tchaikovsky – to a fairly cosmopolitan modernism, attuned to French music of the fin de siècle and Stravinsky's neo-classicism.

After two recordings released on Alpha Classics (including a monograph devoted to Erkki-Sven Tüür – ALPHA595 – that won a Diapason d’Or in 2020), the Estonian Festival Orchestra and Paavo Järvi present six works by five internationally renowned Estonian composers: Tõnu Kõrvits, Ülo Krigul, Helena Tulve, Tauno Aints and Lepo Sumera. Four of these pieces were commissioned by the Pärnu Music Festival, founded and directed by Paavo Järvi. This traversal of six original sound-worlds highlights the richness of Estonian musical creation and its multiple facets.