At the source of an idyllic past.
Originally conceived for the Ballets Russes, Pulcinella asserted itself in its definitive form as the very epitome of Stravinskyan neo-classicism. Perhaps 'neo-baroque' would be more accurate, since, inspired by the 18th century music (Pergolesi in particular), this apparently frivolous work concealed beneath the mask of the pastiche - not unlike Picasso's Arlequin - the beginning of a fundamentally new creative period. This was to reach its peak in the Dumbarton Oaks Concerto...
This title was released for the first time in1997.
IGOR STRAVINSKY [1882-1971]
Pulcinella, suite de ballet (1922, version révisée de 1949)
· I. Sinfonia (ouverture) (1'58)
· II. Serenata (2'55)
· III. Scherzino - Allegro - Andantino (4'51)
· IV. Tarantella (2'07)
· V. Toccata (0'55)
· VI. Gavotta con due Variazioni (4'47)
· VII. Vivo (1'28)
· VIII. Minuetto (2'02)
· Finale (2'00)
Deux suites pour petit orchestreTwo suites for chamber orchestra
Zwei Suiten für Kammerorchester
· Suite n°1 (1917-25)
Andante (1'07)
· Napolitana (1'17)
· Española (1'08)
· Balalaïka (1'01)
· Suite n°2 (1915)
Marche (1'30)
· Valse (2'10)
· Polka (1'14)
· Galop (1'51)
Concerto "Dumbarton Oaks" (1939) en Mi bémol majeur / E flat major / Es-dur
· Tempo giusto (4'52)
· Allegretto (5'45)
· Con moto (5'57)
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