Continuity and change in Stravinskiy`s ballets. Стравинский и его балеты — страница 3

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Royal March is combined of snippets of early 19-th century Italian opera ans Spanish figurations. Before his final dance the devil sings his triumph in a chorale. This looks like a parody of a Bach chorale, but Bach`s chorale is an equation between melody and harmony, while Stravinskiy`s piece there are few chords that could not be found in Bach. The style of the Baroque Concerto Grosso can also be found in “Pucinella” when the strings divide into two groups and there is contrast between loud and soft. Stravinskiy does not use percussion in this ballet but the rhythmic impulse of the music is still strong. In 1919 Dyagilev invited the composer to create a ballet based upon Pulcinella – the traditional hero of many Italian comedies, the same as a Petrushka in Russia.

Dyagilev suggested that music should be based on tunes by the Italian composer Pergolesi of the 18-th century. Stravinskiy said: ”the remarkable thing about “Pulcinella” is not how much but how little was added or changed”. Nearly half of “Pulcinella” is made up from trio sonatas, the rest comes from keyboard pieces, orchestral movements and arias. “Apollo Musagetes” (1927-1028) was a ballet designed to last half an hour. The costumes are all white and the music reflects the rather aushere neo classicism that Stravinskiy was adopting at this time. Stravinskiy`s music is nearly always art to the second degree, art about art. In the absence of a wider social context Stravinskiy chose Western culture itself ­‑ not in his historical sense but as a contemporary

phenomenon – as his subject matter. In so going he could not help expressing the crisis of traditional culture ever as he defined a musical sensibility that is still very much part of our contemporary awareness.