These two ballets reveal a specific facet of Stravinsky's genius, his skill in pastiche. Having used music from eighteenth-century Naples for Pulcinella, he turned to Tchaikovsky for Le Baiser de la fée. On both occasions, he succeeded in transforming the exercise of homage into a highly personal work. Stravinsky had a special artistic affinity with the Toronto Symphony Orchestra, which amply repays the debt in this new recording!
Igor Stravinsky (1882-1971)
Divertimento. Symphonic suite for orchestra from Le Baiser de la fée (The Fairy's Kiss)
· I. Sinfonia (6'24)
· II. Danses suisses (7'03)
· III. Scherzo (Au moulin) (3'54)
· IV. Pas de deux (7'09)
Kelly-Marie Murphy (b. 1964)
Curiosity, Genius, and the Search For Petula Clark (10'17) TSO Commission ̵̶ World Premiere Recording
Igor Stravinsky
Pulcinella (ballet in one act with vocal soloists after Giovanni Battista Pergolesi)
· I. Ouverture (Allegro moderato) (2'05)
· II. Serenata (Larghetto): ‘Mentre l'erbetta pasce l'agnella’ (2'54)
· III. Scherzino (Allegro) ̵̶ Poco più vivo (1'57)
· IV. Allegro (1'07)
· V. Andantino (1'20)
· VI. Allegro (1'50)
· VII. Ancora poco meno: ‘Contento forse vivere’ (1'57)
· VIII. Allegro assai (1'51)
· IX. Allegro ̵̶ Alla breve: ‘Con queste paroline’ (2'16)
· X. Trio (Andante): ‘Sento dire no' ncè pace’ Allegro: ‘Chi dise ca la femmena’ (4'10)
· XI. Allegro: ‘Ncè sta quaccuna pò’ ̵̶ ‘Una te fa la nzemprece’ (0'30)
· XII. Presto : 'Una te fa la nzemprece (1'30)
· XIII. Allegro ̵̶ Alla breve (1'14)
· XIV. Tarantella (1'17)
· XV. Andantino: ‘Se tu m'ami’ (2'23)
· XVI. Allegro (0'57)
· XVII. Gavotta con due variazioni (4'23)
· XVIII. Vivo (1'31)
· XIX. Trio (Tempo di minuetto): ‘Pupillette, fiammette d'amore’ (2'34)
· XX. Finale (Allegro assai) (2'10)
