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 orchestre Two 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)
