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Igor Stravinsky: The Soldier's Tale (L'Histoire du Soldat), Suite – Musicians from the Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 4K)
The theme could not be more relevant when Stravinsky wrote the music for the performance The Soldier's Tale in 1917-1918 – the world was in flaming war.
Like many artists in Europe, Stravinsky had fled to neutral Switzerland, where he met the author Charles F. Ramuz. His story of the soldier who sold his violin to the devil for glory and money was also a reflection of the artists' terms. Freedom or success? Stravinsky was perhaps proof that both were possible. The music, influenced by jazz and with elements such as ragtime and tango, does very well on its own. This is shown by Santtu-Matias Rouvali and musicians from the Gothenburg Symphony Orchestra in the suite of vivid movements Stravinsky compiled from the original music.
Source: gso.se/en/
✻
Stravinsky had first met the Swiss writer, Charles F. Ramuz in 1915 and worked with him on the French version of Renard and Les Noces so it was not surprising when he again collaborated with him on the L'Histoire du Soldat a few years later. The war had understandably affected the financial situation and both composer and librettist wanted to write something which could be produced simply and economically. L'Histoire du Soldat is scored for dancer, three speaking parts and seven instruments and has proved to be successful on an almost unbelievable international scale since its first performance in Lausanne in September 1918 (described in the programme as "to be read, played and danced"). The story tells of the Soldier who has a magic violin which he trades with the Devil who promises to fulfil his every wish. One of his many encounters involves his curing the lovely daughter of a King but throughout the piece the Devil proves a tricky protagonist. The Concert Suite was first performed in London's Wigmore Hall in July 1920.
Source: Sheila MacCrindle (wisemusicclassical.com)
Igor Stravinsky (1882-1971)
♪ The Soldier's Tale (L'Histoire du Soldat), Suite (1920)
i. The Soldier’s March
ii. Airs by a Stream
iii. Pastorale
iv. Royal March
v. The Little Concert
vi. Three Dances: Tango – Waltz – Ragtime
vii. Dance of the Devil
viii. Grand Choral
ix. Triumphal March of the Devil
Terje Skomedal, violin
Jenny Ryderberg, contrabass
Ragnar Arnberg, clarinet
Constantin Gerstein, bassoon
Per Ivarsson, trumpet
Endre Vetås, trombone
Martin Ödlund, percussion
Conductor: Santtu-Matias Rouvali
Gothenburg Concert Hall, 2021
(HD 4K / 2160p)
Gothenburg Concert Hall, 2021
(HD 4K / 2160p)
See also
The Military in the World of Sherlock Holmes
Although we are the proud parents of an Air Force master sergeant, I know next to nothing about the military. So I have no idea why I was asked to write an essay for Corporals, Colonels, and Commissionaires: The Military and the Sherlockian Canon, but I’m glad that I was.
My assignment for the book, part of the Baker Street Irregulars Professions Series, was to write about “The Royal Mallows: Irish Regiments in the British Army.” With a lot of help from Bill Mason, the original co-editor of the book, I dove into the topic and became fascinated.
Irish regiments have been part of the British Army since the late 17th century. To research them is to learn a lot about the Anglo-Irish, which I did. But the particular focus of my essay is the regiment called “The Royal Mallows” in the British editions of “The Crooked Man.”
In the American editions, including the Doubleday Complete, the regiment is called the Royal Munsters, which is a real regiment. But there is no Royal Mallows, and much ink has been spilled trying to identify it with the Munsters or one of the other four southern Irish regiments. I go in a different direction in my essay, which I won’t spoil for you.
The range of other topics in the book is impressive, and the essays interesting: Monica Schmidt on military wives in 19th Century colonial India, Jayantika Ganguly on the British military in India, Daniel Stashower on Conan Doyle and the military, Bill Mason on Watson’s military service, Regina Stinson on “The Blanched Soldier,” Catherine Cooke on those mysterious individuals in the Canon called “commissionaires,” and much more.
Corporals, Colonels and Commissionaires, edited by Michael J. Quigley, BSI, and Marsha Pollak, BSI, is available from the Baker Street Irregulars. Click here.
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