Stravinsky: Scènes de ballet

“There are times when Craft brings a welcome rhythmic drive to the music, as in parts of Jeu de cartes and quite a lot of Danses concertantes. But energy, nervous excitement, biting wit - all these seem in short supply.” BBC Music Magazine, February 2008 ***

“This collection of Stravinsky's later ballets represents the composer in lighter mood, making a delightful sequence, very well played and recorded under the authoritative direction of the composer's principal amanuensis. Jeux de cartes ('The Card Game') of 1936 points directly forward to Stravinsky's style in his opera The Rake'sProgress, the piece reflecting his love of the game of poker: the three main sections of the ballet represent first, second and third deals, with the Joker figuring in each. The piece was written for the great choreographer Georges Balanchine.
Craft's performance with the Philharmonia has an aptly clean attack, with the chugging rhythms well lifted, very suitable for ballet.
Danses concertantes represents Stravinsky in even lighter mood, the first major work he wrote after his arrival in the United States. It's fun music full of playfulness, ending with a jolly galloping theme in compound time. Scènes de ballet of 1944 was commissioned for a Broadway show, but sadly, the bars in 5/4 time were too difficult for the theatre orchestra to play, and it had to be abandoned for its original purpose, only to emerge later as a full concert piece and ballet.
Variations, much the shortest item on the disc, represents Stravinsky using 12-tone technique, an uncompromising, densely packed five minutes which makes for difficult listening, while the Capriccio for piano and orchestra of 1929 returns to his jolly and light-hearted mood, the popular rhythms jauntily presented. Mark Wait is an outstanding soloist. Altogether, a delightful collection brilliantly played and recorded.” Gramophone Classical Music Guide, 2010

“…a delightful collection brilliantly played and recorded.” Gramophone Magazine, February 2008

“In the wrong hands, The Fairy’s Kiss can sound prolix when performed without the attendant choreography and scenery, but Volkov has a sure ear for the ballet’s momentum, colour and dynamism, and the BBC SSO plays it with precision and eloquent character.” The Telegraph, 26th March 2010

“here are striking instances of [Stravinsky's] art of pure delectation...Volkov offers brilliantly clear, high-energy accounts” Sunday Times, 4th April 2010 ***

“Ilan Volkov and his former orchestra continue their survey of Stravinsky's ballets for Hyperion by juxtaposing one of the slightest of his dance scores with one of the most substantial...The BBC Scottish Symphony Orchestra plays wonderfully well for their departed chief conductor” The Guardian, 22nd April 2010 ****

“What a joy...to hear a conductor with the right instinct for tempo co-ordination and continuity...If only there were more truly sympathetic conductors out there such as Volkov to observe Stravinsky's frequent cantabile markings, more listeners might come to love these strange exotic birds.” BBC Music Magazine, June 2010 *****

“[Scènes de ballet] The score is attractive American-period Stravinsky before he moved towards serial techniques. Apart from the vivid sound quality, the balance in the new recording is much better with details such as the piano much clearer … This is an attractive coupling in Hyperion’s admirable ballet series, produced with its usual finesse” Gramophone Magazine

"In the music of Stravinsky, Bernstein was indispensable" (Gramophone)