The relationship between Igor Stravinsky and the violin didn't get off to a promising start: early on in his career the composer stated that he was not fond of stringed instruments, finding them ‘rich in cheap expressivity’. He was also suspicious of virtuoso interpreters – among which violinists were particularly numerous – and their tendency to 'seek immediate triumphs and to lend themselves to the wishes of the public'. Nevertheless there are in Stravinsky's oeuvre a number of works featuring a solo violin, all of which have now been recorded by his compatriot Ilya Gringolts. The focus of the preceding volume was on the works for violin and piano, most of them Stravinsky's arrangements of his own music for the stage, and Gringolts and pianist Peter Laul were praised for their performances, for instance in Fanfare: 'The Russian duo has discovered – and created – new freshness in the sound of Stravinsky's music for the instrument. Urgently recommended.' On the present release, Gringolts combines duos – again in the company of Laul – with other genres, including Stravinsky's most famous work for the violin: his Violin Concerto from 1931. In the concerto, as in the extract for solo violin and strings from the ballet Apollon musagète, Gringolts is supported by Orquesta Sinfónica de Galicia conducted by Dima Slobodeniouk.

The ever-more comprehensive Sony Classical Masters series is pleased to announce ten new releases. Ranging from symphony cycles to solo piano music, these budget-priced box sets celebrate some of the leading musicians of recent times. Pierre Boulez transformed the musical tastes of a generation with his groundbreaking, lucid interpretations of early 20th-century repertoire. Gramophone wrote that his death in 2016 marked “the end of a whole way of perceiving music”. This collection of three CDs brings together the key early ballet scores of Stravinsky with a number of other works by the Russian composer, all recorded with ensembles with whom Boulez maintained a close relationship. With the New York Philharmonic are recordings of the Firebird and the Pulcinella suite, Petrushka, the tone poem Chant du rossignol and the Symphonies of Wind Instruments. His famed Rite of Spring, recorded with the Cleveland Orchestra, is “meticulously contemplated” (BBC Music Magazine), and Gramophone described his Firebird suite with the BBC Symphony Orchestra as a “clear, sharp-edged” recording. True to surprising form, Boulez recorded not the commonly heard Firebird suites from 1919 or 1945, but Stravinsky’s original version of 1910.

Before the First World War, especially for the famous ballet ensemble "Les Ballets Russes", one of the most important dance companies of the 20th century, and its impresario Sergei Diaghilev, Igor Stravinsky composed the first three of his great ballet music works for large orchestra, indeed, the most important of his ballets in general: "L'oiseau de feu" (The Firebird) in 1910, "Petrushka" in 1911, and "Le sacre du printemps" (The Rite of Spring) in 1913. The first of these ranks as a pioneering work of the early 20th century – and the third, regarded as a key work of 20th-century music due to its extraordinary rhythmic and tonal structures, can both be experienced on this new release from BR-KLASSIK - in live recordings with the Symphonieorchester des Bayerischen Rundfunks under its chief conductor Mariss Jansons, and in masterly interpretations. Diaghilev, a formative figure in 20th-century ballet, had founded the Ballets Russes ensemble in 1909 in Paris, where it first performed before moving to Monte Carlo in 1911. The first performance of Stravinsky's "Firebird" took place on June 25, 1910 at the Paris Opera House, and "Le sacre du printemps" premiered on May 29, 1913 in the newly-built Théâtre des Champs-Élysées - a day that went down in history as one of the great artistic scandals of the 20th century. The furious protests from the Parisian public combined with the highly negative critical reviews all ended up making Stravinsky famous. His truly futuristic music has now established itself internationally and is an integral part of concert programs, and one can still hear why it so enraged audiences over 100 years ago. (“The Firebird" can be heard in Stravinsky’s ballet version of 1945.)