The Firebird
L'Oiseau de feu The Firebird | |
---|---|
Native title | French: L'Oiseau de feu Russian: Жар-птица, romanized: Zhar-ptitsa |
Choreographer | Michel Fokine |
Music | Igor Stravinsky |
Based on | Russian folk tales |
Premiere | 25 June 1910 Palais Garnier |
Original ballet company | Ballets Russes |
Design | Aleksandr Golovin (sets) Léon Bakst (costumes) |
The Firebird (French: L'Oiseau de feu; Russian: Жар-птица, romanized: Zhar-ptitsa) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1910 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Michel Fokine, who collaborated with Alexandre Benois and others on a scenario based on the Russian fairy tales of the Firebird and the blessing and curse it possesses for its owner. It was first performed at the Opéra de Paris on 25 June 1910 and was an immediate success, catapulting Stravinsky to international fame and leading to future Diaghilev–Stravinsky collaborations including Petrushka (1911) and The Rite of Spring (1913).
The Firebird's mortal and supernatural elements are distinguished with a system of
Stravinsky later created three concert suites based on the work: in 1911, ending with the "Infernal Dance"; in 1919, which remains the most popular today; and in 1945, featuring significant reorchestration and structural changes. Other choreographers have staged the work with Fokine's original choreography or created entirely new productions using the music, some with new settings or themes. Many recordings of the suites have been made; the first was released in 1928, using the 1911 suite. A film version of the popular
History
Background
Igor Stravinsky began studying composition with Nikolai Rimsky-Korsakov in 1902.[1][2] He completed several works during his time as a student,[3] including his first performed work, Pastorale (1907),[4] and his first published work, the Symphony in E-flat (1907), which the composer categorized Opus 1.[3][5] In February 1909, a performance of his Scherzo fantastique and Feu d'artifice in Saint Petersburg was attended by the impresario Sergei Diaghilev, who was intrigued by the vividness of Stravinsky's works.[6][7]
Diaghilev founded the art magazine
Fokine was a renowned dancer, receiving first prize in his class upon graduation from the Imperial Theatre School in 1898; he subsequently entered the Mariinsky Ballet as a soloist and was promoted to lead dancer of the company in 1904.[15][16] Fokine was dissatisfied with the ballet tradition of glamorous appeals to the audience and interruptions from viewers; he felt that dramatic dance should be strictly displayed with no interruption of illusion, and that the music should be closely connected to the theme.[17][16] His 1907 ballets The Dying Swan and Les Sylphides were very successful and established Fokine as a competitor to other prominent choreographers.[18] In 1908, Benois, a member of Diaghilev's Mir iskusstva circle and friend of Fokine's, arranged for the dancer to prepare a repertoire for the Ballets Russes' 1909 season as the company's first lead choreographer;[18] the season was very successful, and Diaghilev began organizing plans for the 1910 season soon after.[19]
Conception
As the Ballets Russes faced financial issues, Diaghilev wanted a new ballet with distinctly Russian music[a] and design, something that had recently become popular with French and other Western audiences.[21][22] Fokine unofficially led a committee of artists to devise the scenario of this new ballet, including himself, Benois, the composer Nikolai Tcherepnin, and the painter Aleksandr Golovin.[23] Benois recalled that Pyotr Petrovich Potyomkin, a poet and ballet enthusiast in Diaghilev's circle, proposed the subject of the Firebird to the artists, citing the 1844 poem "A Winter's Journey" by Yakov Polonsky that includes the lines:[24]
And in my dreams I see myself on a wolf's back
Riding along a forest path
To do battle with a sorcerer-tsar
In that land where a princess sits under lock and key,
Pining behind massive walls.
There gardens surround a palace all of glass;
There Firebirds sing by night
And peck at golden fruit.[25]
The committee drew from several books of Russian fairy tales, in particular
Stravinsky began work in October or November 1909, traveling to the Rimsky-Korsakov household with Andrey Rimsky-Korsakov, the son of Stravinsky's teacher and dedicatee of The Firebird's score. Because Stravinsky began work before Diaghilev officially commissioned him,[40] the composer's sketches did not align with the scenario; the full story became known to him when he met with Fokine in December and received the ballet's planned structure.[41][42][43] Fokine ensured the creation of the ballet was an equal effort between the producers and the composer, working closely with Stravinsky while developing the choreography.[20] While the composer worked, Diaghilev organized private performances of the piano score for the press. The French critic Robert Brussel, a friend of Diaghilev's, wrote: "By the end of the first scene, I was conquered: by the last, I was lost in admiration. The manuscript on the music-rest, scored over with fine pencillings, revealed a masterpiece."[44]
Development
Despite later lamenting the "descriptive music of a kind I did not want to write", Stravinsky finished The Firebird in about six months, and had it fully orchestrated by mid-May 1910.[45][34] Stravinsky arrived in Paris around the beginning of June to attend the premiere of his first stage work; it was his first visit to Paris.[46][47][48]
Rehearsals began in Ekaterininsky Hall, and Stravinsky attended every rehearsal to help with the music, often explaining the complicated rhythms to the dancers.[49] Tamara Karsavina, who originated the titular Firebird role, later recalled, "Often he came early to the theatre before a rehearsal began in order to play for me over and over again some particularly difficult passage."[50] Stravinsky also worked closely with Gabriel Pierné, who conducted the premiere with the Colonne Orchestra,[51] to "explain the music ... [but the musicians] found it no less bewildering than did the dancers". Two dress rehearsals were held to accommodate the dancers, many of whom missed their entrances due to the unexpected changes in the music, "which sounded quite different when played by the orchestra from what it had sounded like when played on a piano".[52]
When the company arrived in Paris, the ballet was not finished, causing Fokine to extend rehearsals;[53] he petitioned Diaghilev to postpone the premiere, but the impresario declined, fearing public disappointment.[54] The Ballets Russes season began on 4 June 1910 with stagings of Schumann's Carnaval, Rimsky-Korsakov's Scheherazade, and short productions from the previous season.[46]
Fokine's style of dance made great use of interpretive movement; he used ideas of expressiveness, naturalism, vitality, and stylistic consistency.[55] The choreographer employed many forms of dance in The Firebird. The titular Firebird danced classically, Koschei and his subjects in a more violent and grotesque manner, and the Princesses in a looser, gentler way.[31][56] The role of the Firebird differed from that of traditional ballerinas; female dancers often danced princesses, swans, and lovers, but the Firebird was a mysterious and abstract idea, represented as a magical force rather than a person. Her choreography featured exaggerated classical steps, with deep bending at the waist;[57] Fokine wanted her to be "powerful, hard to manage, and rebellious" rather than graceful.[58] This new kind of role for a female character was revolutionary for the ballet scene.[57]
Premiere and reception
Excitement for the premiere was great, particularly in Diaghilev's circle of Mir iskusstva collaborators.[27] The sculptor Dmitri Stelletsky ,[52] who helped develop the scenario,[59] wrote to Golovin on 16 June, "I'm staying till Sunday; I must see The Firebird. I have seen your dazzling drawings and costumes. I like Stravinsky's music in the orchestra and the dances tremendously. I think the whole thing together with your sets will look spectacular. Serov has also put off his departure because of this ballet".[27][52] Diaghilev remarked of Stravinsky during rehearsals, "Mark him well, he is a man on the eve of celebrity".[48]
The Firebird premiered at the
Many critics praised Stravinsky's alignment with Russian nationalist music, one saying, "[Stravinsky is] the only one who has achieved more than mere attempts to promote Russia's true musical spirit and style".
Stravinsky recalled that after the premiere and subsequent performances, he met many figures in the Paris art scene, including
In his 1962 autobiography, Stravinsky credited much of the production's success to Golovin's set and Diaghilev's collaborators;[70] he wrote that Fokine's choreography "always seemed to me to be complicated and overburdened with plastic detail, so that the artists felt, and still feel now, great difficulty in co-ordinating their steps and gestures with the music".[75] The ballet's success secured Stravinsky's position as Diaghilev's star composer, and there were immediate talks of a sequel, leading to the composition of Petrushka and The Rite of Spring.[76][77]
Subsequent productions
After the success of the premiere, Diaghilev announced an expansion of performances until 7 July 1910, the last of which Stravinsky took his family to from their home in
Many later revivals modeled their choreography after Fokine's, including
New York City Ballet's first big hit as a company after their founding in 1948 was its staging of The Firebird the following year, with Maria Tallchief as the Firebird, choreography by George Balanchine, and scenery and costumes by Marc Chagall.[81][31] Balanchine placed a heavy emphasis on the dancing rather than Stravinsky's score, establishing Tallchief as one of the first celebrity American-born and -trained ballerinas.[85] Balanchine revised it in 1970 with Jerome Robbins, the latter of whom choreographed Koschei and his subjects' dance. The young Gelsey Kirkland danced the title role with a new costume inspired by Chagall's sets. New York City Ballet's production remains the most well-known and longest-lived revival in the United States.[31][86]
Legacy
Critics praised the music of The Firebird's emotional character. Cyril W. Beaumont wrote: "[The Firebird ] is a supreme example of how music, although having no meaning in itself, can, particularly with a programme hint of its intention, evoke a mood appropriate to the ballet concerned."[78] Robert Craft considered the music "as literal as opera",[94] referring to the "mimetic specificity" with which the music follows the story,[95] a trait Stravinsky later disliked and apologized for.[96] The composer wrote that The Firebird became a centerpiece in his career; his conducting debut was a ballet performance of The Firebird in 1915, and he said that he performed it "nearly a thousand times" more.[97]
Fokine's revolutionary Firebird character was part of an effort to combine new ideas with classical ballet, showing his wide-ranging abilities as a choreographer.
Music
General character
Stravinsky wrote that The Firebird may be the first appearance of "metrical irregularity" in his music. The passage is marked 7
4, with barlines dividing measures into sets of one and two.
A performance of the full ballet lasts about 45 minutes.[107]
Instrumentation
The work is scored for a large orchestra with the following instrumentation:[108]
- Woodwinds
- 2 piccolos (2nd doubles 3rd flute)
- 2 flutes
- 3 oboes
- English horn
- 3 clarinets in A (3rd doubles clarinet in D)
- bass clarinet in B♭
- 3 bassoons (3rd doubles 2nd contrabassoon)
- contrabassoon
- Brass
- 4 horns in F
- 3 trumpets in A
- 3 trombones
- tuba
- 3 onstage trumpets
- 2 onstage tenor Wagner tubas
- 2 onstage bass Wagner tubas
- Percussion
- bass drum
- cymbals
- triangle
- tambourine
- tamtam
- glockenspiel
- xylophone
- piano
- celesta
- 3 harps
- timpani
- Strings
- first violins
- second violins
- violas
- cellos
- double basses
Stravinsky described the orchestra as "wastefully large",[109] but White opined that the orchestration allowed him to use a variety of effects, including horn and trombone glissandi borrowed from Rimsky-Korsakov's parts of Mlada (1872).[110][111]
Structure
French Episode Titles[108] | English Episode Titles[107] | |
---|---|---|
Introduction | Introduction | |
First tableau | ||
Le Jardin enchanté de Kastchei | Koschei's Enchanted Garden | |
Apparition de l'Oiseau de feu, poursuivi par Ivan Tsarevitch | Appearance of the Firebird pursued by Ivan Tsarevich | |
Danse de l'Oiseau de feu | Dance of the Firebird | |
Capture de l'Oiseau de feu par Ivan Tsarévitch | Ivan Tsarevich Captures the Firebird | |
Supplications de l'Oiseau de feu | Supplication of the Firebird | |
Apparition des treize princesses enchantées | Appearance of the Thirteen Enchanted Princesses | |
Jeu des princesses avec les pommes d'or | The Princesses' Game with the Golden Apples | |
Brusque apparition d'Ivan Tsarevitch | Sudden Appearance of Ivan Tsarevich | |
Corovod (Ronde) des princesses | The Princesses' Khorovod (Round Dance) | |
Lever du jour | Daybreak | |
Carillon Féérique, apparition des monstres-gardiens de Kastchei et capture d'Ivan Tsarevitch | Magic Carillon; Appearance of Koschei's Guardian Monsters; Capture of Prince Ivan | |
Arrivée de Kastchei l'Immortel – Dialogue de Kastchei avec Ivan Tsarévitch – Intercession des princesses | Arrival of Koschei the Immortal; His Dialogue with Ivan Tsarevich; Intercession of the Princesses | |
Apparition de l'Oiseau de feu | Appearance of the Firebird | |
Danse de la suite de Kastchei, enchantée par l'Oiseau de feu | Dance of Koschei's Retinue under the Firebird's Spell | |
Danse infernale de tous les sujets de Kastchei | Infernal Dance of All Koschei's Subjects | |
Berceuse (L'Oiseau de feu) | Lullaby (Firebird) | |
Reveil de Kastchei – Mort de Kastchei – Profond ténèbres | Koschei's Awakening; Koschei's Death; Profound Darkness | |
Second tableau | ||
Disparition du palais et des sortilèges de Kastchei, animation des chevaliers petrifiés, allegresse génerale | Disappearance of the Palace and Dissolution of Koschei's Enchantments; Animation of the Petrified Warriors; General Thanksgiving |
Music and plot
The Firebird opens with a slow introduction describing Koschei's enchanted garden, underlined by the low strings presenting the basis of the Firebird's leit-harmony.[112][113] In the garden are Koschei's enemies petrified into statues.[26] Crescendo and decrescendo phrases in the strings and woodwinds indicate the entrance of the Firebird, being pursued by Prince Ivan. The Firebird's capture by Ivan is depicted with sforzando chords in the horns, and exotic melodies in the oboe, English horn, and viola play as she begs to be released. After the Firebird is freed, Ivan takes one of her feathers, and thirteen enchanted princesses (all captives of Koschei) enter the garden to play a catching game. Ivan introduces himself to the youngest princess, with whom he has fallen in love, and they perform a slow khorovod. The melody for the khorovod is taken from a Russian folk song that Rimsky-Korsakov used in his Sinfonietta on Russian Themes (1879).[114][115][116] Offstage trumpets call the princesses back into the palace, but when Ivan pursues them, bells ring out and Koschei appears in front of the gates, signaled by roars in the timpani and bass drum.[115][117]
Before Koschei can turn Ivan into stone, the prince summons the Firebird with the feather, and she enchants Koschei and his subjects and begins the famous "Infernal Dance". Another Rimsky-Korsakov reference, the melody is borrowed from Rimsky-Korsakov's parts of Mlada, adding syncopation and startling strikes throughout the theme.[115][117] As the dance winds down with very loud brass glissandos, Koschei and his subjects fall asleep from exhaustion. The bassoon introduces the Firebird's tranquil lullaby. Ivan is instructed to destroy the egg that holds Koschei's soul. The music jostles around as Ivan tosses the egg from hand to hand.[113][115]
When Ivan crushes the egg, Koschei dies and the scene is surrounded in "Profound Darkness" while his subjects and enemies are freed from their enchantments. The finale opens with a solo horn announcing the break of dawn, another theme borrowed from Rimsky-Korsakov. The theme grows in the orchestra, building into a triumphant celebration among the freed subjects ending in a brass fanfare.[113][115][118]
Suites
Shortly after the completion of The Firebird, Stravinsky wrote a piano solo reduction of the whole ballet.[110] The composer later arranged three suites for concert performance, dated 1911, 1919, and 1945.[26][119]
1911 suite
- Introduction – Koschei's Enchanted Garden – Dance of the Firebird
- Supplication of the Firebird
- The Princesses' Game with Golden Apples
- The Princesses' Khorovod
- Infernal Dance of all Koschei's Subjects
The first suite, titled "suite tirée du conte dansé 'L'oiseau de feu'", was composed in 1911 and published by P. Jurgenson the following year. The instrumentation is essentially the same as that of the ballet. The score was printed from the same plates,; only the new endings for the movements were newly engraved. A performance of the 1911 suite lasts about 21 minutes.[120]
1919 suite
- Introduction – The Firebird and its Dance – Variation of the Firebird
- The Princesses' Khorovod (Rondo)
- Infernal Dance of King Kashchei
- Lullaby
- Finale
This suite was composed in Morges, Switzerland, for a smaller orchestra. Walsh alleged the suite was composed to re-copyright the work, as Stravinsky sold the new suite to his publisher J. & W. Chester, despite the original ballet still being in copyright.[121][122] The score contained many errors; Stravinsky wrote in 1952 that "the parts of the 1919 version were in such poor condition and so full of mistakes".[123] Regardless, the 1919 suite remains the most popular today.[113][115] A performance of the 1919 suite lasts about 26 minutes.[120]
1945 suite
- Introduction – Prelude and Dance of the Firebird – Variations (Firebird)
- Pantomime I
- Pas de deux: Firebird and Ivan Tsarevich
- Pantomime II
- Scherzo: Dance of the Princesses
- Pantomime III
- Rondo (Khorovod)
- Infernal Dance
- Lullaby (Firebird)
- Final Hymn
In 1945, shortly before he acquired American citizenship, Stravinsky was contacted by
Recordings
Stravinsky received several commissions to transcribe his works for player pianos, some from the London Aeolian Company and some from the Paris Pleyel Company.[127] In 1928, the Aeolian Company published an "Audiographic" piano roll of The Firebird, containing both the piano reduction and comments on the work by Stravinsky. The composer identified many of the leit-harmonies in the opening comments of the roll, providing an invaluable resource for information on the ballet.[128]
The first orchestral recording of The Firebird was released by
Notes and references
Notes
- ^ The Firebird was Diaghilev's first ballet with commissioned music.[20]
- ^ Koschei (Russian: Коще́й, IPA: [kɐˈɕːej]) has different spellings owing to romanization conventions, including Kastchei, Kastcheï, Kashchei, and Koshchey.
Citations
- ^ Walsh 2001, 2. Towards The Firebird, 1902–09.
- ^ White 1979, p. 25.
- ^ a b White 1979, p. 29.
- ^ Walsh 1999, pp. 108, 109.
- ^ White 1979, p. 176.
- ^ a b c d e White 1979, p. 32.
- ^ Bazayev 2020, p. 109.
- ^ Bowlt 2020, pp. 61–62.
- ^ Garafola 1989, p. 26.
- ^ Bowlt 2020, pp. 65–66.
- ^ Brooks 2019, p. 127.
- ^ Garafola 1989, pp. 175–177.
- ^ Bowlt 2020, p. 62.
- ^ Walsh 1999, pp. 122, 126.
- ^ Beaumont 1981, p. 14.
- ^ a b Carbonneau 1998, p. 14.
- ^ Beaumont 1981, p. 23.
- ^ a b Carbonneau 1998, p. 16.
- ^ Beaumont 1981, p. 69.
- ^ a b Carbonneau 1998, p. 17.
- ^ Taruskin 1996, p. 556.
- ^ Caddy 2020, p. 79.
- ^ a b Taruskin 1996, pp. 558–559.
- ^ Taruskin 1996, pp. 556–558.
- ^ Taruskin 1996, pp. 556–557.
- ^ a b c Philip 2018, p. 776.
- ^ a b c d Taruskin 1996, p. 637.
- ^ Brooks 2019, p. 130.
- ^ Taruskin 1996, pp. 565, 567.
- ^ Beaumont 1981, p. 52.
- ^ a b c d e f Au 1998, p. 2.
- ^ Nelson 1984, p. 3.
- ^ Taruskin 1996, pp. 574–575.
- ^ a b c Philip 2018, p. 775.
- ^ Pople 2003, p. 73.
- ^ White 1979, p. 33.
- ^ Taruskin 1996, pp. 575–576.
- ^ Walsh 1999, p. 133.
- ^ Taruskin 1996, p. 578.
- ^ Taruskin 1996, p. 579.
- ^ Taruskin 1996, p. 580.
- ^ Walsh 1999, p. 135.
- ^ Beaumont 1981, p. 53.
- ^ Walsh 1999, p. 138.
- ^ Walsh 1999, p. 135, 137.
- ^ a b Walsh 1999, p. 140.
- ^ Caddy 2020, p. 73.
- ^ a b c d White 1979, p. 35.
- ^ Walsh 1999, p. 139.
- ^ Walsh 1999, pp. 140–141.
- ISBN 978-1-57467-082-0.
- ^ a b c Walsh 1999, p. 141.
- ^ a b Beaumont 1981, p. 66.
- ^ Beaumont 1981, pp. 66–67.
- ^ Nelson 1984, p. 8.
- ^ Nelson 1984, p. 9.
- ^ ISBN 978-0-8129-6874-3. Archivedfrom the original on 1 October 2023. Retrieved 30 September 2023.
- ^ a b Nelson 1984, p. 10.
- ^ Taruskin 1996, p. 558.
- ^ Caddy 2020, p. 76.
- ^ Anderson 2015, p. 82.
- ^ Taruskin 1996, pp. 637–638.
- ^ Beaumont 1981, p. 68.
- ^ Taruskin 1996, p. 638.
- ^ a b c Walsh 1999, p. 143.
- ^ Taruskin 1996, p. 639.
- ^ a b Taruskin 1996, pp. 642–643.
- ^ Walsh 1999, p. 151.
- ^ Taruskin 1996, p. 645.
- ^ a b Stravinsky 1962, p. 30.
- ISBN 978-1-135-36860-9. Archivedfrom the original on 27 July 2023. Retrieved 16 July 2023.
- ^ Walsh 1999, p. 136.
- ^ Walsh 1999, p. 188.
- ^ Bazayev 2020, p. 113.
- ^ Philip (2018, p. 776) quoting Stravinsky (1962, p. 30).
- ^ Taruskin 1996, p. 662.
- ^ Walsh 1999, p. 144.
- ^ S2CID 194638574.
- .
- ^ White 1979, pp. 190–191.
- ^ a b c d Cohen, Selma Jeanne (1962). "Ballet Productions, 1910–1962". Stravinsky and the Dance: A Survey of Ballet Productions. New York: New York Public Library. p. 39.
- ^ Griffiths 2020, p. 90.
- ISBN 978-0-689-11365-9.
- ^ a b Anderson 2015, p. 83.
- ^ a b Anderson 2015, p. 85.
- ^ Balanchine & Mason 1977, p. 242.
- ^ a b Au 1998, p. 4.
- ^ a b Balanchine & Mason 1977, p. 243.
- ^ ISBN 978-0-19-172765-8. Archivedfrom the original on 10 December 2020. Retrieved 19 November 2023.
- ^ Au 1998, p. 3.
- ^ Balanchine & Mason 1977, pp. 243–244.
- ^ Balanchine & Mason 1977, p. 244.
- ^ Macaulay, Alastair (12 June 2012). "Bird of a Feather That Can Make Curses Fly Away". The New York Times. Archived from the original on 26 August 2023. Retrieved 19 November 2023.
- ^ Taruskin (1996, p. 586) quoting Stravinsky & Craft (1962, p. 128).
- ^ Taruskin 1996, p. 586.
- ^ Taruskin 1996, pp. 587–588.
- ^ a b Stravinsky & Craft 1962, p. 133.
- from the original on 13 November 2023. Retrieved 13 November 2023.
- .
- ^ a b McFarland 1994, p. 205.
- ^ a b White 1979, p. 186.
- ^ Taruskin 1996, p. 590.
- ^ McFarland 1994, p. 210.
- ^ White 1979, p. 187.
- ^ White 1957, p. 59.
- ^ Stravinsky & Craft 1962, p. 128.
- ^ a b White 1979, p. 182.
- ^ IMSLP.
- ^ Stravinsky & Craft 1962, p. 131.
- ^ a b White 1979, p. 188.
- ^ Stravinsky & Craft 1962, p. 132.
- ^ Taruskin 1996, pp. 595–596.
- ^ a b c d May, Thomas. "The Firebird". Los Angeles Philharmonic. Archived from the original on 10 June 2023. Retrieved 17 July 2023.
- ^ Ledbetter, Steven. "Suite from The Firebird (1919 version)". Boston Symphony Orchestra. Archived from the original on 17 July 2023. Retrieved 17 July 2023.
- ^ a b c d e f Dotsey, Calvin (22 August 2019). "The Ultimate Russian Fairytale: Stravinsky's The Firebird". Houston Symphony. Archived from the original on 28 November 2022. Retrieved 17 July 2023.
- ^ Philip 2018, pp. 776–777.
- ^ a b Philip 2018, p. 778.
- ^ Philip 2018, p. 779.
- ^ a b Pople 2003, p. 76.
- ^ a b White 1979, p. 189.
- ^ White 1979, pp. 189–190.
- ^ Walsh 2001, 4. Exile in Switzerland, 1914–20.
- ^ Craft 1993, p. 10, 17–18.
- ^ Walsh 2006, pp. 173–174.
- ^ Walsh 2006, pp. 175.
- ^ White 1979, p. 190.
- ^ White 1979, p. 619.
- ^ McFarland 1994, pp. 203–204.
- ^ a b Hamilton 1972, pp. 270–271.
- ^ a b Obert-Thorn, Mark. "Stravinsky Conducts His First Recordings of The Rite of Spring and The Firebird Suite (1928/29)". Pristine Classical. Archived from the original on 19 July 2023. Retrieved 19 July 2023.
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- White, Eric Walter (1957). "Stravinsky". In Hartog, Howard (ed.). European Music in the Twentieth Century. London: Pelican Books. pp. 49–71. ISBN 978-0-8371-8680-1.
- White, Eric Walter (1979). Stravinsky, The Composer and his Works (2nd ed.). Berkeley: University of California Press. ISBN 978-0-520-03983-4.
External links
- The Firebird: Scores at the International Music Score Library Project
- Media related to The Firebird at Wikimedia Commons