Igor Stravinsky: Le sacre du Printemps & Petrouchka Les Siècles & François-Xavier Roth

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  • Igor Stravinsky (1882-1971): Le Sacre du printemps
  • 1I. L’Adoration de la Terre03:24
  • 2II. Danse des adolescentes03:02
  • 3III. Jeu du rapt01:19
  • 4IV. Rondes printanières03:25
  • 5V. Jeu des cités rivales01:48
  • 6VI. Cortège du Sage00:43
  • 7VII. Le Sage00:25
  • 8VIII. Danse de la Terre01:08
  • 9IX. Le sacrifice04:30
  • 10X. Cercle mystérieux des adolescentes03:23
  • 11XI. Glorification de l'elue01:25
  • 12XII. Evocation des ancêtres04:36
  • 13XIII. Danse sacrale04:30
  • Petrouchka
  • 14I. Fête populaire de la semaine grasse05:20
  • 15II. Le tour de passe-passe01:55
  • 16III. Danse Russe02:47
  • 17IV. Chez Pétrouchka04:20
  • 18V. Chez le Maure03:06
  • 19VI. Danse de la ballerine00:44
  • 20VII. Valse (la ballerineet le Maure)03:05
  • 21VIII. Fête populaire de la semaine grasse (vers le soir)01:14
  • 22IX. Danse des nounous04:56
  • 23X. Danse des cocherset des palefreniers02:03
  • 24XI. Les déguisés05:24
  • Total Runtime01:08:32

Info for Igor Stravinsky: Le sacre du Printemps & Petrouchka

François-Xavier Roth and Les Siècles bring back to life Petrouchka and the Rite of Spring on period instruments. In 2010, Les Siècles set out on an Odyssey oh the Ballets Russes. The starting point was to recreate the Ballets Russes’ orchestra which played the company’s famous creations in Paris. To celebrate its centenary that year, Les Siècles performed and recorded the Firebird, so it seemed perfectly natural to carry on the adventure in 2013 with two of Igor Stravinsky’s other great creations for Diaghilev’s company : Petrouchka and The Rite of Spring, both created 100 years ago.

“This is fabulous: young French musicians performing Stravinsky’s ballet on period instruments similar to those used by the Ballets Russes orchestra ... the playing is breathtakingly virtuosic and the timbres produced by the narrow-bore brass and antique woodwinds is entrancing.” (The Times)

“Roth has also meticulously recreated the orchestra that would have played for that season using French- made string and wind instruments from that period, and adopting styles of playing as taught at the Paris Conservatoire at that time. The performances are sometimes startling: the woodwind detail is more pungent and characterful, less suave, than we are used to today, the gut strings warmer and deeper toned.” (The Guardian)

Les Siècles
François-Xavier Roth, conductor

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