The Rite of Spring in Strasbourg

Debussy (orch. Büsser), Mozart, Stravinsky Jan Lisiecki (piano); Orchestre Philharmonique de Strasbourg / Aziz Shokhakimov (conductor). Salle Érasme, Palais de la musique et des Congrès, Strasbourg, France, 25.02.2025

Debussy  Printemps, L 68 (1887, orch. Büsser 1912) Mozart   Piano Concerto No. 22 in E flat, K 482 (1785) 

Stravinsky. Le sacre du printemps (1913) 

What does one couple with Stravinsky’s momentous Rite? Here in Strasbourg, the concert began with Debussy’s Printemps, thus creating a symmetry of spring within the programme. Note that this is not the ‘Rondes de printemps’ from the orchestral Images (which I confess was my first thought); it is, instead, a stand-alone piece composed initially as a result of the composer’s winning the Prix de Rome. Debussy called Printemps a ‘human spring,’ a description of the blossoming of both beings and things in nature. The score caused some puzzlement to the powers that be, although it also prompted Henri Delaborde, secretary of the Académie des Beaux Arts, to use what is probably the first use of the word ‘Impressionism’ in relation to Debussy’s music. It was not a pleasant use, either:

It is strongly desired that he [Debussy] guard against this vague ‘Impressionism’ that is one of the most dangerous enemies of truth in works of art.

And of course, famously Debussy himself did not like the term … 

People quite like Impressionism now, of course!. And how beautifully Debussy shapes the piece, the first movement (‘Très Modéré’) a blossoming, the second (‘Modéré’) a joyful dance shot through with new life. Although the original score included wordless chorus, the manuscript was lost. It fell to Henri Büsser (1872-1973), in consultation with the composer, to construct the present score, using a reduction for chorus and piano duet as guide (there is, indeed, a piano duet in the orchestra). 

The discography of Printemps is more meagre than most Debussy pieces: but there is Sir Thomas Beecham’s account (1939); there is also Pierre Boulez with the New Philharmonia Orchestra (the ‘New’ attesting to the recording’s vintage). one fervently hopes Shokhakimov could be persuaded to record this (especially given the excellence of is recent Daphnis et Chloé on Warner Classics with the Strasbourg orchestra; his would be an ideal complement).  

Printemps was acually the first piece by Debussy that Shokhakimov conduced, when 17 or 18 yeas old, in Tashkent, Uzbekistan. Shokhakimov’s trademark attention to detail and orchestral discipline (achieved both in deep rehearsal, and in his actual conducing technique) resulted in a clear elevation of the score. Beauty was to the forefront, while Debussy’s processes emerged as perfectly natural. One noteworthy feature was how Shokhakimov encouraged subtlety from the brass; the trumpets in particular (led by Vincert Gillig), almost whispering at times. Individual players shone (principal clarinet and oboe in particular in the first movement; Sébastien Koebl and Sébasien Giot respectively). The blossoming of the first movement was expertly tracked, the music almost stretching itself into life. Most importantly, this sounded like a fully-formed piece (many performances seem to treat it almost condescendingly, and its stature loses as a result). A cor anglais is but one strand of colour in the second movement; along with this panoply of pastels, Shokhakimov found a very natural pace and an ideal sense of ebb and flow. The approach to the conclusion was perfectly calibrated, and everything had a perfect place (even Boulez does not quite convince of this, in either the New Philharmonia or Cleveland recordings). I wonder if this piece has ever received such a fine performance? The marking of the second movement might be ‘Modéré,’ but there was a spirit of ‘Animé’ here, too. The close was truly impressive; a phenomenal account. 

Here’s the Boulez/Cleveland performance, with score:

Of Mozart’s later-numbered piano concertos, No. 22 in E flat is one of the lesser-often performed. And yet it is a grand piece of much energy balanced by melodies of infinite grace. Jan Lisiecki is a pianist of great reputation, on this evidence entirely justified. After a brisk orchestral exposition which nevertheless holds much power (the horn suspensions in the early bars were terrific), Lisiecki’ s entrance was characterised by crystalline, pearl-like articulation. Crisp in extremis, it was as if Lisiecki had eschewed the sustaining pedal; until, that is, a great chordally-based phase (echoed by lower strings) whereupon the music entered, beyond doubt, the dark world of Don Giovanni. Shokhakimov and Lisiecki followed a trend to make the central Andante more of a Larghetto, both equally eloquent. It was Shokhakimov’s portrayal of the wind contribution as imported Harmoniemusik that was most revelatory (the one caveat being a slightly routine second clarinet in its chalumeau register). Flute/bassoon exchanges were magical (to which was added a solo violin); and as to Lisiecki, he realised perfectly that this is Mozart opera in instrumental garb. This was a major musical statement. 

The finale did appear a touch severe from the pianist. While Lisiecki’s technique is beyond criticism, it was the excellence of the orchestra that shone. Lisiecki’s cadenza bordered on the manic, something of a surprise. The encore was Chopin’s E minor Prélude, Op. 28/4, beautifully intimate (and a nod to Lisiecki’s DG Preludes album, which coupled Chopin’s complete Op. 28 with preludes by Rachmaninov, Górecki, Bach and Messiaen). 

Here’s that recording:

One can hear many of Lisiecki’s core traits in Mozart in his recording of Mozart’s Piano Concertos Ns 20 and 21 with the Bavarian Radio Symphony Orchestra under fellow pianist (turned conductor) Christian Zacharias, again on DG.  

And so to the Rite of Spring.  

Stravinsky’s Le sacre du printemps retains its visceral edge to this day. Just prior to the concert, I asked about conducor Aziz Shokhakimov’s personal relationship with the piece:

I have a big connection with the Rite as I leaned this piece first when I was 14 years old. I conducted the whole piece with two pianos at the pre-selection round of the Besançon competition. After which the jury said they were impressed, but they wondered how I would work with orchestras as at the time I didn’t speak any English. So I said I would learn quickly … That was very useful for me, to learn the Stravinsky, when you learn at 14 it is much easier’

Is the Rite, I wonder, a progression from Rimsky or does it open the floodgates to Modernism leading to, say, Boulez or the Birtwistle of Earth Dances (sometimes called the Rite of Spring of the second half of the twentieth century)?

Yes and no, but more I think it was a break. It was really special, really explosive for public and musicians. And it is indeed a masterpiece. Inside of the “Sacrificial Dance“ there is one line – actually from the beginning of the piece to the end, you can feel one line. The musicians were counting and playing, but I asked them to just phrase it. You need to find a way to play it as one big phrase. 

Also, did Shokhakimov study recordings of, say Monteux and Stravinsky?

With other pieces, yes, but with Rite of Spring, I don’t remember the last time I listened to a recoding. Maybe 14 or 15 years ago when I conduced it in Boligna in the ballet, and they asked me to listen to Ansermet’s recording as more or less they were preparing the ballet with his recording and his tempi. 

I ask about folksong in the Rite and its role,

It is a big influence which gives the feeling of his roots as a Russian composer. He used Russian songs more in Petrushka, with the Rite you can recognise Slavic-like melodies and songs, but here is no specific song I know of.

And the sheer difficulty then – and now? Do orchestras now think of this as a repertoire piece, or does it still instill fear?

It depends which orchestra, but most have it. If you’ve played it once, it is much easier to play it again because you really need to learn it. For me, this piece is already in my DNA, for me it is quite easy to do”. 

Shokhakomov allowed the solo bassoon to sing, unconducted, until the upbeat to the entrance of the second horn; ‘Les augures printaniers’ offered clear rhythmic contrast. The journey from one to the other was via the most remarkable woodwind balancing, each strand audible, low clarinets punctuating like rarely before, phasing finely sculpted by all, the high E flat clarinet brilliantly piercing.  

Details, always pertinent, surfaced so often (the double-basses staccato three semiquavers in “Auguries of Spring,” for example); properly hard timpani sticks underpinned the frenetic activity. Shokhakimov generated huge intensity, not least in the ‘Jeu du rapt’. 

Shoskhakmov’s interpretation is one which highlights contrasts within the score unflinchingly; from that freneticism, the ongoing tread of ‘Rondes printanières’ and moments of frozen time (at the outset of ‘Danse de la terre’ that concludes the first part). Above and beyond all of that was a sense of underlying dance, so vitally important, and yet so often under-ackowledged. A multi-layered approach to Stravinsky’s classic score such as this pays huge dvidends; one almost experiences the piece anew.  

Once more batonless, Shokhakimov offered a hypnotising Introduction to Part II (‘Le Sacrifice’). Here there was a feeling of an inevitability that led to the closing ‘Danse sacral’ via the grotesque processional of the ‘Action rituelle des ancêtre’. The final sacrificial dance held great excitement and yet simultaneously was perfectly controlled; the Strasbourg orchestra showed its virtuoso colours while projecting the epitome of brazen pagan ritual.  

It is recently announced that Aziz Shokhakimov’s contract at Strasbourg has been further extended by two years. There will be more significant recordings, too, I am sure; the next concert in Strasbourg will be on May 22 (repeated My 23): Mahler’s almighty Second Symphony with the Chœur philharmlnique de Strasbourg and the Chœur de l’Opéra national du Rhin, plus soloists Valentina Farcas (soprano) and Anna Kissjudt (mezzo).