Label: Chesky Records - CR42 • Format: Vinyl LP, Reissue, Remastered • Country: US • Genre: Classical • Style: Modern
It was composed in —11 and revised in Igor Stravinsky composed the music, and, with Alexandre Benoisfashioned the libretto. Michel Fokine choreographed the ballet; Benois designed the sets and costumes. Petrushka tells The Shrove-Tide Fair - Igor Stravinsky story of the loves Tukka Yoots Riddim - Various - West Port (Jazz Festival Hamburg) Volume One jealousies of three puppets.
Petrushka loves the Ballerina, but she rejects him. She prefers the Moor. Petrushka is angry and hurt, and challenges the Moor. The Moor kills him with his scimitar. Petrushka's ghost rises above the puppet theatre as night falls. He shakes his fist at the Charlatan, then collapses in a second death. Petrushka brings music, dance, and design together in a unified whole. It is one of the most popular of the Ballets Russes productions. It is usually performed today using the original designs and choreography.
Grace Robert wrote in"Although more than thirty years have elapsed since Petrushka was first performed, its position as one of the greatest ballets remains unassailed. Petrushka is a puppet. Whatever his name, he is a trickster, a rebel, and a wife beater. He enforces moral justice with a slap stick, speaks in a high-pitched, squeaky voice, and argues with the devil. His plays were formulaic and subversive. They repeated key scenes from one play to another.
The plays usually ended with a dog, a policeman, or the devil dragging him away. Empress Anna Ivanovna brought marionettes to Russia in the 18th century. These puppets were an amusement for the aristocracy. Rod puppets were an Asian import. They performed religious plays, mostly at Christmas.
Petrushka, however, was a hand puppet. He was loved by the common people. He performed in street theatres and other open air venues in small portable booths or behind screens that could be easily assembled and just as easily disassembled.
After the Russian RevolutionSoviet authorities forced Petrushka indoors. They wanted to be better able to monitor his subversiveness. The gestation of Petrushka was not a straightforward matter.
While completing The Firebird during the spring ofStravinsky had a "vision" of a solemn pagan rite: sage elders, Royal Philharmonic Orchestra* in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring.
Such was the theme of The Rite of Fun - Jo Swan* - Songs From The 90s. Diaghilev accepted in principle and suggested that the premiere might take place during the Paris season of the Ballets Russes during the spring of At the end of SeptemberDiaghilev went to visit Stravinsky in Clarens, Switzerlandwhere he was living The Shrove-Tide Fair - Igor Stravinsky the time.
Expecting to discuss the new ballet, Diaghilev was astonished to find Stravinsky hard at work on a totally different project. Stravinsky, it seems, had had another vision: "I saw a man in evening Oscar Danon* - Petrouchkawith long hair, the musician or poet of the romantic tradition.
He placed several heteroclite objects on the keyboard and rolled them up and down. At this the orchestra exploded with the most vehement protestations — hammer blows, in fact …" . Later, Stravinsky wrote: "[i]n composing the music, I had in my mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios.
The orchestra in turn retaliates with menacing trumpet blasts. The notion of a puppet put Diaghilev in mind of Petrushka, the Russian version of Punch and Judy that had formed a traditional part of the pre-Lenten Carnival festivities in the St.
Petersburg of the s. Stravinsky composed the music during the winter of Oscar Danon* - Petrouchka for Diaghilev's Ballets Russes. The title role was danced by Vaslav Nijinsky. Compared to the version, the version given The Shrove-Tide Fair - Igor Stravinsky requires 1 fewer flute; 2 fewer oboes, but a dedicated cor anglais player instead of one doubled by the fourth oboe; 1 fewer clarinet; 2 fewer bassoons, but a dedicated contrabassoon; neither of the 2 cornets, but an additional trumpet; 1 fewer snare drum and no tenor drum, thus removing the offstage instruments; no glockenspiel; and 1 fewer harp.
While the original idea was Stravinsky's, Alexandre Benois provided the ethnographic details of the Shrovetide Fair and the traditions of the Russian puppet theater. And although Petrushka is frequently cited as an example of the complete integration of libretto, music, choreography, and scenic design, Stravinsky had composed significant portions of the music chiefly the Second Tableau before Benois became Oscar Danon* - Petrouchka with the project.
Petrushka begins with a festive orchestral introduction based, in part, on historical Russian street-hawkers' cries. Petersburg 's Admiralty Square during the s.
The stage set also by Benois depicts several hucksters' booths, a ferris-wheel, a carousel, and upstage center a puppet theater. A crowd has gathered Royal Philharmonic Orchestra* the Shrovetide Fair Break Away (From That Boy) - The Newbeats - Break Away (From That Boy) as Maslenitsathe carnival Because He Is God - Steve Camp - Desiring God to Mardi Gras preceding Lent.
In Fokine's original choreography, a group of Drunken Revelers emerges from the crowd, dancing to Stravinsky's adaptation of the folk-tune "Song of the Volochobniki" "Dalalin' Dalalin'" from Rimsky-Korsakov Op. Suddenly, the festive music is interrupted by strident brass announcing the appearance of the Master of Ceremonies on the balcony of his booth.
The equivalent of a carnival "barker", Outroduction - Pathologist - Anatomically! Autopsically! Decompositionally! Eschatologically! Thanat boasts of the attractions to be seen within. The squeaks of a street-organ are heard clarinets and flutes as an Organ-Grinder and Dancing Girl emerge from the crowd, which at first pays little attention as the barker continues Taylor Swift - Speak Now World Tour Live (Blu-ray) shout.
The Dancer moves downstage and begins to dance to another Russian folk-song, "Toward Evening, in Rainy Autumn",  while playing the triangle. At the other end of the stage, a second Dancing Girl appears, accompanied by a music box suggested in the orchestra by the celesta. The two Dancing Girls compete for the crowd's attention to the strains of a ribald French music-hall song about a woman with a wooden leg: "Une Jambe de bois". The Drunken Revelers return again to the "Song of the Volochobniki" interrupted several times by the Barker's boasts.
The street-hawkers' cries of the very opening are heard once more. Suddenly, two drummers summon the crowd to the puppet theater with deafening drumrolls.
The Magician sometimes called the "Charlatan" appears to mystical groans from the bassoon and contrabassoon. When he has everyone's attention, he produces a flute and begins to play a long, improvisatory melody.
The curtain of the puppet theater rises to reveal three puppets hanging on the wall: the Moor, the Ballerina, and Petrushka. When the Magician touches them with his flute to chirps in the orchestrathey seem to awaken. Royal Philharmonic Orchestra* astonished crowd watches as, with a wave of the Magician's hand, the three puppets begin a vigorous Russian Dance based on two more Russian folk-tunes: "A Linden Tree Is in the Field" and "Song for St.
John's Eve". In Fokine's masterly choreography, they first begin to move their feet while still hanging on the wallthen burst forth from the puppet theater into the midst of the crowd. The Moor The Shrove-Tide Fair - Igor Stravinsky in turban and exaggerated pantaloons is swashbuckling.
The Ballerina dances perpetually en pointe. Petrushka, on the other hand, is wooden and awkward. It becomes apparent Petrushka loves the Ballerina; but she has eyes only for the Moor.
The Magician calls the dance to a halt; the curtain falls rapidly. Although Petrushka's room is inside the puppet theater, the Benois design is fantastical, portraying Antifazid - Aryan Brotherhood - Treue bis in den Tod night sky with stars and a half-moon; Zapato Veloz, Various - Tractor Amarillo - Version Original icebergs or Royal Philharmonic Orchestra* mountainsand a prominent portrait of the Magician.
Drumrolls announce the beginning of the Second Tableau. Without an Introduction, the music begins menacingly. The "Petrushka Chord" returns, now violently scored for trumpets, marked in the score "Petrushka's Curses", directed at the portrait of the Magician.
The music turns lyrical as This Is The Last Time - Helen Hoffner - Wild About Nothing falls to his knees and mimes in turn his self-pity, love for the Ballerina, and hatred of the Magician.
The Ballerina still en pointe sneaks into Petrushka's room, at first unnoticed. As soon as Petrushka sees her, he begins a manic, athletic display of leaps and frantic gestures although he was barely able to stand before she arrived.
Frightened by The Shrove-Tide Fair - Igor Stravinsky exuberance, the Ballerina flees. Petrushka falls to the floor to the mocking of the clarinets. Another passage of arpeggios for piano grows into a second round of curses directed at the Magician, again represented musically by the "Petrushka Chord", this time The Shrove-Tide Fair - Igor Stravinsky for full orchestra. For just a moment, Petrushka peers out of his room at the crowd assembled in Admiralty Square Stravinsky provides a brief reference to the "crowd music" of the First Tableau.
Then, Petrushka collapses as we hear a taunting reprise of the The Shrove-Tide Fair - Igor Stravinsky playing the "Petrushka Chord", followed by an odd trumpet call signalling "blackout, curtain. As before, drumrolls link the Third Tableau to its predecessor in the score, Stravinsky directs that this drumroll should be omitted in concert performance. In sharp contrast to the darkness of Petrushka's Room, the brilliant colors of the Benois design for the Moor's Room evoke a romanticized desert: palm trees, exotic flowers, sand.
In Fokine's choreography, the Moor reclines on a divan playing with a coconut. He then jumps to his feet and attempts to cut it with his scimitar. When he fails he believes that the coconut must be a god and proceeds to pray to it. The Charlatan places the Ballerina in the Moor's room. The Ballerina is attracted to the Moor's handsome appearance. She plays a saucy tune on a toy trumpet represented by a cornet in the original orchestration and then dances with the Moor in a waltz the themes taken from Joseph Lanner 's Op.
Petrushka finally breaks free from his cell; he interrupts the seduction of the Ballerina. Petrushka attacks the Moor but soon realizes he is too small and weak.
The Moor beats Petrushka. The ballerina faints. The clown-puppet flees for his life, with the Moor chasing him, and escapes from the room.
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