Compact Discoveries®
a series of one-hour radio programs produced, written, hosted, and edited by Fred Flaxman
©2006 by Compact Discoveries, Inc.
Program 98
"Two Stravinsky Ballets in One Hour"
MUSIC: clip from Stravinsky’s Pulcinella Overture
with the Philharmonia Orchestra conducted by Robert Craft [Naxos
8.557503, all music in this program is from this compact disc recording] [under the following]
Hello and welcome to Compact Discoveries. I’m your host, Fred Flaxman. Stay tuned and we’ll explore “Two Stravinsky Ballets in One Hour:” Pulcinella and The Fairy’s Kiss.
The performances are by the Philharmonia Orchestra and the London
Symphony Orchestra, both conducted by Robert Craft. The soloists in Pulcinella include Diana Montague, Robin Leggate and Mark Beesley.
MUSIC: fades out
Stravinsky’s 1920 Pulcinella,
is an unusual ballet in several respects. First of all, it has songs
for a soprano, tenor and bass. Second of all, the words to those songs
have nothing to do with the ballet’s story. Thirdly, the
ballet’s story is particularly convoluted. Fourthly, the music
was based on what Stravinsky thought was music by Pergolesi, but half
of it was apparently by other composers. Fifth of all, Picasso was
hired to do the scenery. Sixth of all, Ottorino Respighi was originally
commissioned by Diaghilev’s Ballets Russes to do the music and
Stravinsky only came in when Respighi dropped out. And finally, despite
all this, the ballet all comes together very nicely and has been a big
success.
MUSIC: from the above recording starts and goes under
Robert
Craft summarized the story in the program notes that go along with his
CD. The action takes place in Naples, Italy, and the characters are
taken from the commedia dell’arte. On at least one occasion, this commedia dell’arte atmosphere is reflected by the music in the form of a slapstick duet between the trombone and the double bass.
MUSIC: example of the above
MUSIC: clip from the beginning of the ballet under
In
the beginning of the ballet Rosetta and Prudenza respond to the
serenading of Caviello and Florindo by dousing them with water.
A dottore
arrives and chases the musical pair away. Pulcinella enters, dances,
and attracts Prudenza, who tries to embrace him. He rejects her.
MUSIC: new section starts and goes under
Rosetta
appears, chaperoned by her father Tartaglia. She tells him of her
love for Pulcinella, for whom she dances. He kisses her, but is seen by
Pimpinella, his mistress, who becomes jealous.
Caviella and
Florindo re-enter in disguise, and Florindo, jealous of
Pulcinella, stabs him. When the would-be lovers leave, Pulcinella
cautiously gets up. Four little Pulcinellas enter, carrying the body of
Furbo disguised as Pulcinella. They place the body on the floor.
The
Doctor and Tartaglia enter with their daughters, who are horrified. A
magician appears and revives the corpse. When the fathers refuse to
believe the miracle, the magician removes his cloak and reveals himself
to be the real Pulcinella. The revived corpse is his friend Furbo.
Pimpinella enters but is frightened at the sight of two Pulcinellas.
Florindo and Caviella return, disguised as -- you guessed it --
Pulcinellas, hoping for more satisfaction in their amorous pursuits.
The
confusion caused by four Pulcinellas prompts Furbo to resume his
magician disguise. At the end, the Pulcinella couples, including
Pimpinella and the ballet’s hero, are reunited and married.
MUSIC: as much of the ballet as we can fit in
Some of the music to Igor Stravinsky’s ballet Pulcinella. Robert Craft conducted the Philharmonia Orchestra.
You are listening to "Two Stravinsky Ballets in One Hour" on Compact Discoveries. I’m your guide, Fred Flaxman.
[optional one-minute station cutaway not included in 57:53 total timing]
This Naxos compact disc also includes Stravinsky’s 1928 ballet The Fairy’s Kiss -- le Baiser de la fée. It is in four scenes and the scenario comes from a story by Hans Christian Andersen called The Ice Maiden.
The music is based on piano pieces and songs by Tchaikovsky. They are
linked by passages Stravinsky composed in a similar style.
Which
brings me to a point I’d like to make about both of these
ballets. They are full of beautiful melodies, few of which were written
by Stravinsky, yet he manages to turn them into Stravinsky-like pieces
with his orchestrations, modern harmonies, dissonances and rhythms.
MUSIC: from The Fairy’s Kiss under the following
The first scene in The Fairy’s Kiss
is called “The lullaby in the storm.” In it a mother with
her child struggle through a storm. The Fairy’s attendant spirits
appear and pursue her. They separate her from the infant and carry him
off. The Fairy herself appears. She approaches the child and enfolds
him with her tenderness. Then she kisses him on the forehead and goes
away. Country folk, passing, find him all alone, and they search in
vain for his mother. Deeply distressed, they take him with them.
MUSIC: continues until the end of Scene I
MUSIC: for Scene II under
The
next scene is called “A Village fête.” A peasant
dance is in progress, with musicians on the stage. Among the dancers
are a young man and his fiancée. The musicians and the crowd
disperse. The fiancée goes away with them and the young man
remains alone.
The Fairy approaches him in the guise of a gypsy
woman. She takes his hand and tells his fortune. Then she dances and,
ever increasingly, subjects him to her will. She talks of his romance
and promises him great happiness. Captivated by her words, he begs her
to lead him to his fiancée.
MUSIC: continues until the end of Scene II
MUSIC: for Scene III under
Next is “At the Mill.”
Guided
by the Fairy, the young man arrives at the mill, where he finds his
fiancée among her friends playing games. The Fairy disappears.
They all dance. Then the girl goes with her friends to put on her
wedding veil. The young man is left alone.
The Fairy appears,
wearing a wedding veil. The young man, unfortunately, takes her for his
bride. He goes towards her, enraptured, and addresses her in the terms
of warmest passion. Suddenly the Fairy throws off her veil.
Dumbfounded,
to say the least, the young man realizes his mistake. He tries to free
himself, but in vain. He is defenseless before the supernatural power
of the Fairy. Now she will take him away to a land beyond time and
place, where she will again kiss him, this time on the sole of the foot.
MUSIC: Continues to the end of Scene III
MUSIC: for Scene IV under
The
Fairy’s attendant spirits group themselves in slow movements of
great tranquillity before a wide décor representing the infinite
space of the heavens. The Fairy and the young man appear on a
ridge. She kisses him to the sound of her lullaby.
The young man is Tchaikovsky himself. The Fairy is his devilish muse.
The
ending of Stravinsky’s homage to Tchaikovsky is rarely heard in
ballet performances at present. George Balanchine’s abbreviated
version of the ballet concludes with the peasant’s dance. But
this recording includes the original ending.
MUSIC: continues until the end of the ballet
The music to Igor Stravinsky’s ballet, The Fairy’s Kiss performed by the London Symphony Orchestra conducted by Robert Craft.
MUSIC: clip from Stravinsky’s Pulcinella Overture
with the Philharmonia Orchestra conducted by Robert Craft [Naxos
8.557503, all music in this program is from this compact disc recording] [under the following]
And that brings to an end this hour of Compact Discoveries.
I hope you enjoyed hearing “Two Stravinsky Ballets in One
Hour.” This is Fred Flaxman thanking Robert Craft for providing
the program notes I made use of for this program... and you for
listening.
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Palm Beach, Florida.
MUSIC: ends at 57:53
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