Information AboutPetrushka |
| CATEGORIES ABOUT PETRUSHKA | |
| puppets | |
| russian culture | |
| stock characters | |
|
COMPOSITION The work was composed during the winter of 1910 - 1911 for Serge Diaghilev 's Ballets Russes . It was premiered at the Paris Théâtre du Chatelet on 13 June 1911 in Paris under conductor Pierre Monteux . While the production was generally a success, more than a few observers were taken aback by music that was brittle, caustic, and at times, even grotesque. One critic approached Diaghilev after a dress rehearsal and said: "And it was to hear this that you invited us!" to which Diaghilev succinctly replied, "Exactly". When Diaghilev and his company traveled to Vienna in 1913, the Vienna Philharmonic initially refused to play the score, deriding ''Petrushka'' as "schmutzige Musik" ("dirty music"). The original 1911 version of ''Petrushka'' is scored for 2 Piccolo s, 4 Flute s, 4 Oboe s, English Horn , 4 Clarinet s, Bass Clarinet , 4 Bassoon s, Contrabassoon , 4 Horn s, 2 Trumpet s, 2 Cornet s, 3 Trombone s, Tuba , Timpani , 2 Harp s, Piano , Celesta , Bass Drum , Cymbals , Glockenspiel , Snare Drum , Tambourine , Triangle , Xylophone , Tam-tam , offstage snare drum and tambourine, and Strings . The work is characterized by the so-called Petrushka Chord , a Polytonic device heralding the appearance of the main character. STORY The play opens up at a carnival/fair, called Shrovetide, (the Russia n '' Maslenitsa '' - akin to Mardi Gras ) which is a celebration a few days prior to a long religious fast. The people rejoice before the long fast when they will not be able to enjoy themselves for a while. Stravinsky's orchestration and rapidly changing rhythms depict the hustle and bustle of the fair. An organ grinder and dancing girl entertain the crowd. Drummers announce the appearance of the Old Wizard, who charms the captivated audience. Suddenly, the curtain rises on a tiny theater, as the Wizard introduces the inert, lifeless puppet figures of Petrushka, the Ballerina and the Moor (the brute). The Old Wizard uses a flute to cast a magic spell. The vivified puppets leap from their little stage and dance among the astounded carnival-goers. The puppets, now alive, perform a vigorous Russian dance. After the performance, we are taken back to Petrushka’s room (the 2nd scene) where the walls painted in dark colors and decorated with black stars, a half-moon, and a portrait of the frowning Old Wizard. Petrushka is kicked into his dismal cell by the Wizard with a resounding crash. Petrushka leads a dismal life behind the show curtains, and is smitten with love for the ballerina puppet. The frowning Wizard’s portrait hangs there, looming, as if to remind Petrushka that he is a mere puppet. This causes Petrushka to become angry and shake his fists at the Wizard's glare. Although Petrushka is a puppet, he feels human emotions, including bitterness toward the Old Wizard for his imprisonment, as well as love for the beautiful Ballerina. Petrushka unsuccessfully tries to escape from his cell. The Ballerina enters. Petrushka attempts to profess his love, but the Ballerina rejects his pathetic advances. As Petrushka is treated without compassion by the Magician, the Ballerina engages in wanton affairs with the Moor, which snaps the poor puppet's sensibilities. In the 3rd scene, the audience becomes aware of how better off the Moor is compared to Petrushka. The Moor’s lavishly decorated cell with a lounging couch, where he plays with a coconut. His room is much more spacious, colored in bright reds, greens and blues. Rabbits, palm trees and exotic flowers decorate the walls and floor. Instead of being condemned to an austere cell like Petrushka's, this puppet retires to his luxurious room. Next, the Ballerina, who is attracted by the Moor’s handsome appearance, is placed in his room by the Wizard. She plays a saucy tune and she and the Moor begin to dance. After Petrushka finally breaks from his cell-like room, he is put into the Moor's by the Wizard to interrupt the ballerina’s seduction. Petrushka begins to attack the Ballerina's lover, but realizes he is too small and weak to take him on. The Moor shows his extreme displeasure by working him over and chasing him, as Petrushka runs for his life, escaping out of the room. The fourth and final scene takes place back at the fairground, where a series of (unrelated) characters of the fair come and go about the stage. The orchestra becomes a giant accordion musically, introducing the chain of colorful dances, the first and most prominent being the Wet-Nurses’ Dance (to the tune of the folk song "Down the Petersky Road"). Then comes a peasant with his dancing bear, followed in turn by a rake merchant and Gypsies, coachmen and grooms, and masqueraders. As the merrymaking reaches its peak, (after some time has passed), a cry is heard from the puppet-theater. Petrushka suddenly runs across the scene, followed by the Moor in hot pursuit with an axe. The crowd is horrified when the Moor catches up with Petrushka and hacks him to death. The police at the fair question the Old Wizard, who seeks to restore calm by shaking sawdust from the "corpse" to remind everyone that Petrushka is but a puppet with a wooden head and a body filled with sawdust. As Night falls and the crowd disperses, the wizard leaves, carrying Petrushka’s limp body with him. His ghost appears on the roof of the little theater, his cry now in the form of an angry protest. Petrushka’s death only enlivens his spirit, which thumbs its nose at his tormentor from beyond the wood and straw of his carcass. Now completely alone, the Old Wizard is terrified to see the leering ghost of Petrushka. The wizard scampers off, with a single frightened glance over his shoulder, and the scene is hushed, leaving the audience to wonder who is "real" and who is not. SECTIONS The work is divided into four parts ''(tableaux)'' with the following scenes: Part I: The Shrovetide Fair
Part II: Petrushka's Room
Part III: The Moor's Room
Part IV: The Shrovetide Fair (Evening)
OTHER VERSIONS In 1947 , Stravinsky penned a revised version of ''Petrushka'' for a reduced orchestra, in part because the original version was not covered by Copyright and Stravinsky wanted to profit from the work's popularity. The 1947 version also provides an optional ''fff'' (fortissimo) near the ambiguous piano conclusion of the original. In either guise, ''Petrushka'' — along with its Ballets Russes siblings, '' The Firebird '' and '' The Rite Of Spring '' — continues to challenge and thrill audiences with a dramatic impact that is as fresh today as when the works first appeared. SOURCES
|
|
|