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DISC: 1
| 1. Introduction |
| 2. Scene I: Night. Kashchey’s Enchanted Garden |
| 3. Scene I: The Firebird Enters, Pursued By Ivan Tsarevich |
| 4. Scene I: The Firebird’s Dance |
| 5. Movement 1: Danse Russe |
| 6. Movement 2: Chez PacTrouchka |
| 7. Part I: The Adoration of the Earth. Introduction |
| 8. Part I: The Adoration of the Earth. the Augurs of Spring (Dance of the Young Girls) |
| 9. Part I: The Adoration of the Earth. Ritual of Abduction 1 |
| 10. Part I: The Adoration of the Earth. Spring Rounds 1 |
| 11. Part I: The Adoration of the Earth. Ritual of the Rival Tribes 1 |
| 12. Part I: The Adoration of the Earth. Procession of the Sage 1 |
| 13. Part I: The Adoration of the Earth. the Sage 1 |
| 14. Part I: The Adoration of the Earth. Dance of the Earth 1 |
| 15. No. 1 1 |
| 16. No. 2 1 |
| 17. On the Stove 1 |
| 18. At Home 1 |
| 19. Dodo 2 |
| 20. The Cat Has 2 |
| 21. Tango 2 |
| 22. Valse 2 |
| 23. Ragtime 2 |
| 24. Scene 4: The Wedding Feast 2 |
| 25. Act |
| 26. Polidoro. Il Flaminio (Serenata – Larghetto) 2 |
| 27. Act |
| 28. Trio Sonata. Movement 2 (Scherzino) 2 |
| 29. Act |
| 30. Trio Sonata. Movement 3 (Allegro) 2 |
| 31. Act |
| 32. Trio Sonata. Movement 8 (Andantino) 2 |
| 33. Act |
| 34. Vanella. Lo Frante ‘Nnammorato. (Allegro) 3 |
| 35. Movement 2: Adagietto 3 |
| 36. Epilogue 3 |
| 37. Pas de Deux: Apollo and Terpsichore 3 |
| 38. Coda: Apollo and the Muses 3 |
| 39. Movement 3: Psalm 150 3 |
| 40. Movement I: Con Moto 3 |
| 41. Movement 3: Aria 3 |
| 42. Movement I: Tempo Giusto 3 |
| 43. March – Introduction 3 |
| 44. Movement 3: Con Moto 4 |
| 45. Movement 2: Arioso 4 |
| 46. Sanctus 4 |
| 47. Scene 3: Apotheosis 4 |
| 48. I Was Never Saner 4 |
| 49. I Burn! I Freze! 4 |
| 50. Second Pas de Trois: Bransle Simple 4 |
| 51. Bransle Gay 4 |
| 52. Bransle Double (Bransle de Pitou) 4 |
| 53. Movement |
| 54. Surge, Aquilo 4 |
| 55. Libera Me 5 |
| 56. Postlude |
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From the Russian fairy-tale enchantment of The Firebird to the austere ritual at the end of his Requiem Canticles composed over half a century later, Stravinsky’s extraordinary creativity embraces a range of styles and tributes to composers of the past. He started under the guidance of Rimsky-Korsakov in pre-revolutionary St Petersburg and ended his life in America having made a very special kind of peace with the rigorous (serial) techniques of Schoenberg and Webern. Yet his homage’s are always heartfelt, and he always remains himself: truly the most comprehensive and wide-ranging musical genius of the twentieth century.



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