Igor Stravinsky was a stylistic chameleon. For instance, in the 1920s he suddenly exchanged the vivid, exotic colours of his early ballets for a more subdued palette. A typical example is the comical one-act opera Mavra, in which droll oompah accompaniments, witty references to Tchaikovsky and snippets of jazz are all strung together to create an ironic example of Neoclassicism. More than thirty years later Stravinsky changed tack once again. His new course became evident in his Septet, in which he casually exploits the serialism techniques of his musical archrival Schönberg.

Just like Stravinsky, Sofia Gubaidulina is a great admirer of T.S. Eliot. In her Hommage for soprano and octet she pays him tribute with whispering music and magical tone colours.

Artists

IGOR STRAVINSKY
Septet
Mavra (arr. Winfried Radeke)
SOFIA GUBAIDULINA
Hommage à T.S. Eliot

ASKO|SCHÖNBERG
DUTCH NATIONAL OPERA ACADEMY
conductor
Etienne Siebens
soprano
Christie Finn
tenor
Gevorg Hakobjan
mezzo-sopraan
Florieke Beelen
contra-alto
Klarijn Verkaart
sopraan
Judith Fa