Argyle Arts
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Program Notes & Synopses

Enhance your patrons’ experience with notes that highlight the music’s humanity and illuminate its depth. Choose from our wide selection of pre-written pieces or commission custom notes that complement your concert story.

Program Notes & Synopses

Enhance your patrons’ experience with notes that highlight the music’s humanity and illuminate its depths.

Custom Notes

Tell your own concert story by commissioning synopses and program notes that fit you needs. Just tell us what you’d like to have, and we'll get back to you with a quote.


Choose from dozens of ready-to-print program notes and synopses which you can download instantly as a digital file, including a license to reproduce the notes in programs and on your website.*

Scroll down to browse available pieces. Click on a title to view more detailed information, including word counts and excerpts.

* - Notes may be displayed on your website for one year following the performance. Contact us to discuss a longer duration.

Ready-to-Print notes and synopses are priced by length. Need something longer or shorter? Submit a Quote Request for Custom Notes to ask for a modified version, and we'll make it happen!

Stravinsky: The Firebird

Stravinsky: The Firebird


1113 words
note by Chris Myers

Though written for a performance of the 1919 Firebird Suite, this note can accompany any version of the piece.

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Everyone involved was deeply impressed with the score, and excitement about the ballet began to build throughout Parisian society. During a late rehearsal, Diaghilev commented to his dancers regarding Stravinsky, “Mark him well. He is a man on the eve of celebrity.” The work premiered in June to a wildly enthusiastic crowd which included Jean Cocteau, Maurice Ravel, Eric Satie, Manuel de Falla, Reynaldo Hahn, Marcel Proust, Sarah Bernhardt, and Claude Debussy, who invited Stravinsky to dinner following the performance.
Reviews were ecstatic about the integration of design, dance, and music, referring to the work as a “danced symphony” and emphasizing how different it was from most ballets, where the music was mere accompaniment. The buzz was so favorable that Diaghilev added two additional performances to the initial three. Although some musicians quietly commented that the piece was a bit derivative, they were so impressed by the quality of its execution that they were won over. Constant Lambert’s comment is typical of this sentiment: “In L'Oiseau de Feu Stravinsky applied the rejuvenating influence of Debussy's impressionism to the by now somewhat faded Russian fairytale tradition in much the same way that one pours a glass of port into a Stilton.”

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