Composing Pulcinella was, said Igor Stravinsky: “My discovery of the past, the epiphany through which the whole of my late work became possible.” Begun in 1919 for Sergei Diaghilev’s Ballets Russes, who first performed it the following year, it proved to be a pivotal work in 20th-century music, and the portal to the new world of neoclassicism through which many other composers would follow, too. But Diaghilev had originally offered the Pulcinella commission to Manuel de Falla, who had been too busy to take on the task, and who later that year began work on a chamber opera, El Retablo de Maese Pedro (Master Peter’s Puppet Show), based upon an episode in Cervantes’ Don Quixote.
Heard one after the other in these fine, if slightly dry, performances from Pablo Heras-Casado and the Mahler Chamber Orchestra, the comparison between the two almost contemporary works is fascinating, not only in their sound worlds, but in their use of existing musics – from Pergolesi in Pulcinella and from a whole range of Spanish folk sources in El Retablo. Whether Falla was influenced at all by Stravinsky’s score (which was first performed three years earlier than the opera) isn’t clear, but the similarities between them are sometimes remarkable.
But the real gem on this disc is a suitably intense account of Falla’s Harpsichord Concerto, with Benjamin Alard as the soloist. It was his final large-scale work, completed in 1926, and with an accompanying ensemble of just five instruments, it’s perhaps more chamber music than concerto. But with its Spanish source material thoroughly integrated into its severe neoclassicism, it’s one of the neglected masterpieces of 1920s modernism.
Allow content provided by a third party?
This article includes content hosted on embed.music.apple.com. We ask for your permission before anything is loaded, as the provider may be using cookies and other technologies. To view this content, click ‘Allow and continue’.
Stream it on Apple Music (above) or on Spotify