Igor Stravinsky's Danses concertantes, composed in 1942, is a quintessential example of his neoclassical style. This chamber orchestra piece, commissioned by the Werner Janssen Orchestra, showcases Stravinsky's ability
to blend classical forms with modern sensibilities. The work's structure and instrumentation reflect the composer's innovative approach to composition during this period.
Neoclassical Elements
Stravinsky's neoclassical period is characterized by a return to the forms and techniques of the classical era, infused with modern elements. Danses concertantes exemplifies this approach through its use of traditional forms, such as the theme and variations in the third movement, Thème varié. The variations follow a plan of ascending semitones, a technique that contrasts with the chromatic descent found in Stravinsky's earlier work, Jeu de cartes.
The piece's instrumentation also reflects Stravinsky's neoclassical style. The chamber orchestra consists of flute, oboe, clarinet, bassoon, two horns, trumpet, trombone, timpani, and a string section. This combination allows for a rich and varied sound, characteristic of Stravinsky's work during this period. The concertante style of Danses concertantes is reminiscent of Stravinsky's Dumbarton Oaks Concerto, further highlighting the neoclassical influences in his music.
Musical Structure
Danses concertantes is divided into five movements: Marche (introduction), Pas d'action (Con moto), Thème varié (Lento), Pas de deux (Risoluto – Andante sostenuto), and Marche (conclusion). The piece begins and ends with a march, providing a sense of symmetry and cohesion. The second movement, Pas d'action, features lively rhythms and intricate interplay between the instruments, showcasing Stravinsky's skill in orchestration.
The third movement, Thème varié, is the centerpiece of the work. Its variations are based on a theme in G, with four variations in A♭, A, A again, and B♭. This ascending semitone structure creates a sense of progression and development, a hallmark of Stravinsky's neoclassical style. The Pas de deux movement offers a contrast with its more lyrical and expressive character, before the final Marche brings the piece to a rousing conclusion.
Legacy and Influence
Danses concertantes has been choreographed numerous times, highlighting its appeal to both musicians and dancers. George Balanchine, a close collaborator of Stravinsky, created a ballet for the Ballet Russe de Monte-Carlo in 1944 and later re-choreographed it for the New York City Ballet in 1972. Other choreographers, such as Kenneth MacMillan and Lew Christensen, have also drawn inspiration from Stravinsky's score.
The enduring popularity of Danses concertantes is a testament to Stravinsky's mastery of the neoclassical style. Its intricate structure, rich instrumentation, and rhythmic complexity continue to captivate audiences and performers alike, ensuring its place in the repertoire of both concert halls and ballet stages.
