The cello sometimes uses a high tessitura, reaching a top A in bar 6. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. The final perfect cadence is also altered – the only note from the dominant chord (C major) which appears in the cadence is G, while the combination of other notes mean that the chord progression is essentially III-I. Pulcinella, Ballet in One Act with Song Stravinsky began the ballet Pulcinella in the late summer of 1919 and completed it on April 20, 1920. The Pulcinella suite is a collection of eight orchestral excerpts from Stravinsky’s ballet of the same name. The Vivo is also in rounded binary form. The Sinfonia is in rounded binary form, with no repeats. 4 0 obj Allegro moderato (Gallo: Trio Sonata 1, 1st movement), Serenata. Each of the three movements is based on a Baroque piece, which has been modernised by Stravinsky. There is also a circle of fifths in bars 7-9. Pulcinella Features Stravinsky broadly retains the melody, harmony and structure of works by Gallo, Monza and Pergolesi in these movements. The theme of the Gavotta is in binary form, and has two ten bar sections. In the Sinfonia, there is a clear contrast between the grand tutti sections and the more subdued solos, and Stravinsky often switches rapidly between the two. A number of string techniques are used, such as double and triple stopping in the violins (bars 1-4) and consecutive down bows (bars 17-18). Change ), You are commenting using your Twitter account. The result sounds characteristic of both Stravinsky and Pergolesi: eighteenth century music living in a twentieth century world. Suite. The movement uses unusual solo instruments – a trombone and a double bass – which create an almost circus-like feel. The reprise of the A section has a ‘surprise’ beginning in bar 33, and here the main theme is reduced to four bars, followed by a descending sequence and four bars of cadence phrases in the tonic. The theme of the Gavotta is in 2/2, while variation 1 is in 6/8 and variation 2 is in 4/4. The Gavotta is in D major, and does not modulate. ( Log Out /  Available online At the library. The Gavotta also uses written out ornaments (for example, bar 1), which become more complex in variation 2. Change ), Sample 13 Mark Answer – Sinfonia (Pulcinella), Sonatas I-III for Prepared Piano – Revision Notes, String Quartet no. ( Log Out /  Essay topic about future quote write essay on career examination malpractice holiday narrative essays descriptions learning argumentative essay ppt, human technology essay pt3 Facebook creative writing online courses free �X�躣;3����4�'k���N"�"���@L����=laj����ǩq��&�-\W��Gfҡ�i��5��nZ���讈��]v{�% �ɶ���}w��J%Y��M��]G/��FE.�&��Ik��t=�#�l[T�7�9�4�_ The Sinfonia uses a trio sonata by Gallo, the Gavotta a keyboard piece by Monza, and the Vivo a cello sonata by Pergolesi. Died April 6, 1971, New York City. Although he distorted phrases and chord patterns in adapting Pergolesi's music, Stravinsky left much of the basic melodic and rhythmic content unaltered; Pergolesi, and his stock of bright, engaging melodies, therefore deserve much of the credit for the success of Pulcinella. There are also exaggerated ornaments, such as the trills in bars 7-9, and gruppetti (repeated grace notes) in bar 5. At many points, the tonality is complicated by added note dissonances, such as the A in the G major chord in bar 3. Act 2), Allegro alla breve (Gallo: Trio Sonata 7, 3rd movement), Tarantella. The use of staccatissimo (bar 46) adds to the circus-like mood, while the dramatic pause before the final chords (bar 65) gives a comic feeling. Act 2. Rambert Pulcinella resource pack p4 Pulcinella Choreographed by Richard Alston (1987) Music Pulcinella by Igor Stravinsky Sets and costumes designed by Howard Hodgkin Lighting designed by Peter Mumford The running time of Pulcinella is approximately … The movements are written in a neo-Classical style, and are consequently relatively short, which suits the rapidly changing scenes of a ballet. Polidoro), Scherzino. A modulating sequence in bars 21-23 takes the piece through G major, A major and B minor, before ending the movement in the tonic. Bibliographic information. There is also some use of homorhythm (bar 23) and broken chord accompaniments, such as the variation on the Alberti bass played by the bassoon from bar 50. Act 3. Stravinsky chose movements from numerous Pergolesi works (and works perhaps mistakenly ascribed to Pergolesi) to illustrate the action, and scored them for a small eighteenth century orchestra: no clarinets or percussion, and concerto and ripenio groups in the strings. There are also demisemiquavers in the double bass (unusual for a lower string instrument), such as in bar 50. In the Sinfonia, a solo string quintet is used, which doubles the other strings during tutti sections (this serves the role of the concertino group seen in a Baroque concerto grosso, with the rest of the orchestra forming the ripieno). %PDF-1.5 �fR'EeR�ܮ_�Ȓ��O/_�6I��'���=���Ƥi�H�TE��ĈTi�욗/��C�! endobj Dotted rhythms (for example, bars 7-9) and syncopation (bar 1) are also important. The Pulcinella suite is a collection of eight orchestral excerpts from Stravinsky's ballet of the same name. The complexity of the parts in the first phrase of the Gavotta means that it is closer to a four-part texture. To sweeten the deal, Diaghilev assured Stravinsky that no less an artist than Pablo Picasso would design the sets, and that Léonide Massine, whom Stravinsky respected greatly, would choreograph.

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