Danses concertantes is a notable work by Igor Stravinsky, composed in 1942 for a chamber orchestra. This piece, lasting about twenty minutes, was commissioned by the Werner Janssen Orchestra of Los Angeles. Although it was intended for concert performance, it has been choreographed numerous times, highlighting its versatility and appeal. Stravinsky's work is a testament to his neoclassical style, which was both celebrated and critiqued during its time.
Composition and Premiere
Stravinsky composed Danses concertantes in 1942, completing the score on January 13 of that year. The piece was commissioned by the Werner Janssen Orchestra, and Stravinsky himself conducted the first performance in Los Angeles on February 8, 1942. The work was published later that year by Associate Music Publishers in New York. Despite being written as an abstract ballet for concert performance, it was not initially intended for the stage. However, its structure and style lent themselves well to choreography, leading to various ballet productions over the years.
The French premiere of Danses concertantes took place in February 1945, during a series of concerts dedicated to Stravinsky's work. This performance was met with vocal protests from students of Olivier Messiaen, including notable figures like Serge Nigg and Pierre Boulez. They found Stravinsky's neoclassicism to be outdated, preferring the emerging postwar serialism. This reaction underscores the shifting musical landscape of the time and highlights the evolving tastes of audiences and composers alike.
Structure and Style
Danses concertantes is structured in five movements: Marche (introduction), Pas d'action (Con moto), Thème varié (Lento), Pas de deux (Risoluto – Andante sostenuto), and Marche (conclusion). The third movement, Thème varié, features variations that follow a plan of ascending semitones, a technique that contrasts with the chromatic descent found in Stravinsky's earlier work, Jeu de cartes. The concertante style of Danses concertantes is reminiscent of Stravinsky's Dumbarton Oaks Concerto, and the thematic material recalls his Symphony in C.
The instrumentation for Danses concertantes includes a chamber orchestra with flute, oboe, clarinet, bassoon, two horns, trumpet, trombone, timpani, and a string section. This combination of instruments allows for a rich and varied sound, characteristic of Stravinsky's neoclassical period.
Choreographic Interpretations
Over the years, Danses concertantes has inspired numerous choreographers. George Balanchine, a friend and collaborator of Stravinsky, created a ballet for the Ballet Russe de Monte-Carlo in 1944, with sets and costumes by Eugène Berman. Balanchine later re-choreographed the piece for the New York City Ballet in 1972. Other notable choreographers, such as Kenneth MacMillan and Lew Christensen, have also created ballet productions based on Stravinsky's score.
These choreographic interpretations demonstrate the enduring appeal and adaptability of Danses concertantes. The work's abstract nature and rhythmic complexity provide a rich canvas for choreographers to explore, ensuring its place in the repertoire of both concert halls and ballet stages.
