Stravinsky : The Soldier's Tale

1. Élégie
2. Duo concertant ICantilène
3. Duo concertant IIÉglogue I
4. Duo concertant IIIÉglogue II
5. Duo concertant IVGigue
6. Duo concertant VDithyrambe
7. The Soldier's Tale Part I Scene I Marching Song
8. The Soldier's Tale Part I Scene I Phew… This isn't a bad sort of spot
9. The Soldier's Tale Part I Scene I Music to Scene Airs by a stream
10. The Soldier's Tale Part I Scene I The Devil appears
11. The Soldier's Tale Part I Scene II Marching Song (reprise)
12. The Soldier's Tale Part I Scene II Marching Song (reprise)
13. The Soldier's Tale Part I Scene II Hurray! Here we are!
14. The Soldier's Tale Part I Scene II Music to Scene Pastorale
15. The Soldier's Tale Part I Scene II Ah, you dirty cheat! It's you!
16. The Soldier's Tale Part I Scene III Music to Scene Airs by a stream (reprise)
17. The Soldier's Tale Part I Scene III Good to touch, good to feel
18. The Soldier's Tale Part II Scene I Marching Song (reprise)
19. The Soldier's Tale Part II Scene I Now he comes to another land
20. The Soldier's Tale Part II Scene I Royal March
21. The Soldier's Tale Part II Scene II It went off just as we thought it would
22. The Soldier's Tale Part II Scene II Little Concert
23. The Soldier's Tale Part II Scene III Three Dances Tango
24. The Soldier's Tale Part II Scene III Three Dances Waltz
25. The Soldier's Tale Part II Scene III Three Dances Ragtime
26. The Soldier's Tale Part II Scene III Three Dances Ragtime
27. The Soldier's Tale Part II Scene III Dance of the Devil
28. The Soldier's Tale Part II Scene III Little Chorale
29. The Soldier's Tale Part II Scene III Devil's Song
30. The Soldier's Tale Part II Scene III Devil's Song

The Devil’s violin

Deeply scarred by the First World War and by the upheavals of the October Revolution in his homeland, Stravinsky found, with the help of the Swiss author Ramuz, a subject that resonated perfectly with his era. In this music theatre piece inspired by an old Russian folktale, The Deserter and the Devil, the composer of The Rite of Spring explored new paths in the last months of the First World War, which would soon lead him to a very personal form of neo-classicism. With this English version, in which Dominique Horwitz plays all the spoken roles in masterly fashion, the musicians assembled by Isabelle Faust have taken up the challenge of performing on instruments contemporary with the premiere. As a result, the work reveals its true personality and its immensely original colours, keen and biting. It is coupled here with two unjustly neglected gems by its composer, to mark the fiftieth anniversary of his death.