The 90th Season opens with Siblings Sarah Willis and Music Director Alastair Willis on stage together! This exciting and unique performance combines much-loved solo pieces for French horn by Wolfgang Amadeus Mozart with traditional Cuban music.
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I. Sinfonia (Ouverture)
III. Scherzino – Allegro – Andantino
VI. Gavotta con due variazioni
VIII. Minuetto – Finale
Horn Concerto No. 3 in E flat major, K.447
II. Romance. Larghetto
Overture to L’Amant anonyme/The Anonymous Lover, Op. 11, No. 2
I. Allegro Presto
Le boeuf sur le toit, Op. 58
Born: June 17, 1882, Saint Petersburg
Died: April 6, 1971, New York, New York
At a Glance
Duration: 22 minutes
Premiered by: Boston Symphony Orchestra
conducted by Pierre Monteaux in December, 1922
No twentieth-century composer was more involved with dance than Stravinsky. He wrote at least 12 scores specifically for ballet production, and choreographers have used a large number of them for dances.
The original and prime mover of all this Stravinskian dance activity was Serge Diaghilev, the Russian impresario for whom the composer wrote his early (1910-13) triumphant triumvirate of ballets, The Firebird, Petrushka, and The Rite of Spring. Reassembling his company after World War I, Diaghilev searched for a project with which to lure Stravinsky back to ballet. Contemplating the success of The Good-Humored Ladies, danced to music Domenico Scarlatti arranged by Vincenzo Tommasini, he struck upon the music of Pergolesi as a likely prospect for Stravinsky’s manipulation. At first unenthusiastic to the plan, the composer was won over as he read through the many scores by the eighteenth-century Italian master that Diaghilev had gathered – not knowing that most of the pieces were not authentic Pergolesi articles.
Stravinsky chose various pieces attributed to Pergolesi, and from an old manuscript he took a comic episode whose leading character was Pulcinella, the traditional hero of Neapolitan commedia dell’arte.
The plot is a natural for Stravinsky’s sophisticated wit: Pulcinella, sought after by all the girls, is in danger of being killed by their boyfriends. Changing places with his double, who then only pretends to be slain, Pulcinella escapes harm. The would-be assassins disguise themselves as Pulcinella and go to visit their respective sweethearts. Pulcinella, as if risen from the dead, appears. Becoming a magnanimous benefactor, he arranges marriages for the couples and weds Pimpinella.
Maintaining most of the original melodies, Stravinsky “touches up” the music with added notes and ostinatos, which provide harmonic pungency and rhythmic tautness. He subtly adjusts the phrases, breaking up the formal symmetry, and adds color through orchestration exhibiting the composer’s characteristic transparency.
The ballet was introduced in Paris on May 15, 1920, with choreography by Léonide Massine – who also […]