IGOR STRAVINSKY: PULCINELLA SUITE // CONDUCTOR TAEJUNG LEE // FESTIVAL MARIBOR

FESTIVAL MARIBOR
https://nd-mb.si/en/festival-maribor/


IGOR STRAVINSKY: PULCINELLA SUITE


00:03 I. Sinfonia

02:16 II. Serenata

05:17 III. Scherzino – Allegretto – Andantino

09:32 IV. Tarantella

11:36 V. Toccata

12:41 VI. Gavotta (con due variazioni)

16:42 VII. Vivo (Duetto prior to revision)

18:17 VIII. Minuetto – Finale


Conductor: TAEJUNG LEE
The Orchestra of the Slovenian National Theater Maribor (SNG Maribor Symphony Orchestra)

*Live from the Maribor Union Hall




About this Piece


No 20th-century composer was more involved with dance than Stravinsky. He wrote at least 12 scores specifically for ballet production, and choreographers have also found his nontheater works irresistible and have utilized 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 of Domenico Scarlatti as arranged by Vincenzo Tommasini, he struck upon the music of Pergolesi as a likely prospect for Stravinsky's manipulation. At first cool to the plan, the composer was won over as he read through the many scores by the 18th-century Italian master that Diaghilev had gathered - not knowing that most of the pieces were not authentic Pergolesi articles.

The task of selecting the music and a scenario was relatively easy. 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.

Maintaining most of the original melodies and basses, Stravinsky "touches up" the music with added notes and ostinatos, which provide harmonic pungence and rhythmic tautness. He subtly adjusts the phrases, breaking up the formal symmetry, and he colors with an orchestration of characteristic élan and transparency.

The ballet was introduced in Paris on May 15, 1920, with choreography by Léonide Massine - who also danced the title role - and sets and costumes by Pablo Picasso. The concert suite, consisting of 11 movements of the ballet's 18, was made in 1922.

-- Orrin Howard




CONDUCTOR / DIRIGENT - TAEJUNG LEE


"TAEJUNG LEE is a very talented and excellent conductor with exceeding individual skills and outstanding musicality!"
ZUBIN METHA

"He is a remarkable young conductor with fantastic baton technique!"
SIR SIMON RATTLE

"A highly-talented conductor!"
BERTRAND DE BILLY


TAEJUNG LEE, a renowned Korean conductor of profound versatility and vision, is rapidly establishing a presence on the international stage as an inspiring musical voice. Recognized for an artistic authority that commands respect from distinguished ensembles, he possesses a natural ability to unite musicians and audiences in a shared experience of discovery and inspiration.

Lee’s approach is defined by an innovative vision that dissolves the boundaries between the contemporary and the canon. By applying a rigorous artistic insight to new music as he does to the standard repertoire—spanning from Mozart and Mahler to the 21st century—he has become a notable figure in the global musical dialogue.


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