The Great and the Graceful

Few works mark a turning point in a composer’s career as clearly as Pulcinella did for Igor Stravinsky. After the bold modernism and rhythmic fire of The Firebird, Petrushka, and The Rite of Spring, this 1920 ballet announced a striking change of direction — a turn towards elegance, balance, and wit. This new approach, later called neoclassicism, would shape much of Stravinsky’s music for decades to come.

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Pulcinella was commissioned by Sergei Diaghilev for his Ballets Russes, with choreography by Léonide Massine and designs by Pablo Picasso. Diaghilev suggested that Stravinsky base the score on music attributed to the 18th-century composer Giovanni Battista Pergolesi — though it was later discovered that much of it was actually written by Domenico Gallo. Stravinsky’s treatment of these Baroque sources was far from simple arrangement: he preserved their graceful melodies and forms but reimagined them with piquant harmonies, rhythmic surprises, and a distinctly modern sense of humour. The result was both affectionate and ironic — a witty conversation between centuries.

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The Pulcinella Suite (1922) condenses the ballet into eight concise movements for small orchestra, with a string quintet (two violins, viola, cello, and double bass) acting as a concertante group throughout. The Sinfonia opens with radiant clarity, the quintet and winds exchanging crisp, elegant phrases. The Serenata follows with a tender melody sung by solo cello, while the Scherzino offers playful dialogue between flute and bassoon. The Allegretto features charming duets for violin and double bass, their lyrical lines lightly underpinned by the strings. The Andantino brings a moment of expressive calm, led by oboe and violin solos that evoke a gentle, pastoral dance.

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In sharp contrast, the Tarantella bursts forth with dazzling rhythmic energy, its quicksilver passages showcasing the agility of the strings. The Toccata follows with dazzling interplay between winds, brass, and strings, particularly the trumpet solo, before giving way to the Gavotta, scored uniquely for wind and brass instruments only — a moment of bright, clear-toned contrast.

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The seventh movement, Vivo, provides a witty interlude: here, the trombone and double bass step into the spotlight for a cheeky, virtuosic exchange — full of swagger, slides, and comic exaggeration. Finally, the Finale unites the whole ensemble in a jubilant conclusion, where Baroque poise and Stravinskian brilliance combine in sparkling style.

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In Pulcinella, Stravinsky found a new artistic voice — one that looked to the past for inspiration, but spoke unmistakably in the language of the 20th century. Its freshness, clarity, and playful invention continue to charm and surprise audiences a century later.