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Formats and Editions
1. Pulcinella: Ouverture: Allegro moderato
2. Pulcinella: Serenata: Larghetto
3. Pulcinella: Scherzino
4. Pulcinella: Allegro
5. Pulcinella: Andantino
6. Pulcinella: Allegro
7. Pulcinella: Ancora poco meno
8. Pulcinella: Allegro assai
9. Pulcinella: Allegro
10. Pulcinella: Largo
11. Pulcinella: (Allegro)
12. Pulcinella: Presto
13. Pulcinella: (Largo)
14. Pulcinella: Allegro alla breve
15. Pulcinella: Tarantella
16. Pulcinella: Andantino
17. Pulcinella: Allegro
18. Pulcinella: Gavotta con due variationi
19. Pulcinella: Vivo
20. Pulcinella: Tempo di Minu
21. Pulcinella: Allegro assai
22. Danses concertantes: Marche - Introduction
23. Danses concertantes: Pas d'action: Con moto
24. Danses concertantes: Th ma vari : Lento
25. Danses concertantes: Variation I: Allegretto
26. Danses concertantes: Variation II: Scherzando
27. Danses concertantes: Variation III: Andantino
28. Danses concertantes: Variation IV: Tempo giusto
29. Danses concertantes: Pas de deux
30. Danses concertantes: Marche - Conclusion
Details:
Janes/bostridge/herfordSanderling/bournemouth sym
More Info:
Stravinsky has been compared to his near contemporary Picasso, the painter who provided décor for Pulcinella and who through a long career was to show mastery of a number of contrasting styles. Stravinsky's earlier music was essentially Russian in inspiration, followed by a style of composition derived largely from the eighteenth century, interspersed with musical excursions in other directions. His so-called neo-classicism coincided with the beginning of a career that was now international. The initial enthusiasm for the Russian revolution of 1917 that had led even Dyagilev to replace crown and scepter in The Firebird with a red flag, was soon succeeded by distaste for the new régime and the decision not to return to Russia. Stravinsky wrote his Danses concertantes in Hollywood in 1941 and early 1942, in response to a commission from the Wemer Janssens Orchestra, which gave the first performance in Los Angeles on 8th February under the direction of the composer. Although originally intended for concert use, the Danses concertantes were planned in balletic sequence, with an introductory and concluding march to bring the dancers on and off the stage and the necessary variety, not only in the Pas d' action and Pas de deux but also in the theme and variations, three of the latter based on an ascending semitone step. In 1944 the dances were choreographed by Balanchine for the Ballet russe of Monte Carlo. The style of writing reflects that of the earlier ballet Jeu de cartes.
