Saturday, August 9, 2014

Stravinsky: Pulcinella (complete)




Pulcinella is a ballet by Igor Stravinsky based on an 18th-century play—Pulcinella is a character originating from Commedia dell'arte. The ballet premiered at the Paris Opera on 15 May 1920 under the baton of Ernest Ansermet. The dancer LĂ©onide Massine created both the libretto and choreography, and Pablo Picasso designed the original costumes and sets. It was commissioned by Sergei Diaghilev.

OK, enough Wikipedia (and I only use it because I'm too lazy to put it in my own words). This video is hardly the ideal Pulcinella, but the ideal Pulcinella may exist only in my own mind. It was one of the recordings I grew up with, and we played the spots off it, mainly because my father was on a Stravinsky kick and wanted to hear everything he ever wrote. I remember the music vividly, but not the conductor, the orchestra or the record label (else I might be able to track down a reissue).




As a kid, I suppose I knew a little bit about the ballet, something about clowns jumping around in those white outfits they wear in Europe, but of course I had never seen it. I still haven't seen it. I've never even heard a live performance of the whole work, only the ubiquitous suite. But always I had an echo in my brain of that first recording. I own five Pulcinellas now, and I don't listen to any of them because that first one spoiled me for anything else.

Why? The voices. The three singers, tenor, baritone and mezzo-soprano, are the spirit of the piece, and all too often they sound wooden, as if they just don't get it and are only singing the notes. The piece has to be conducted with a certain irony and even satire, a sour edge contrasting with lamb-gambolling sweetness. The music is often at odds with the odd-sounding words, which in fact have nothing to do with Pulcinella and the commedia dell'arte. The words are more like medieval sonnets about thwarted love. And yet they are splashed against this odd rococo backdrop, this motley set painted by Picasso.

There were a few Pulcinellas on YouTube, and a while ago I tried to find a good one. There is a rare performance of the ballet, but it's chopped up into 10-minute pieces. A more complete one exists, but someone has recorded it with atrocious sound distortion, as if they didn't even notice the music. What is the matter with people today??? I doubt if I will ever find the perfect combination, and besides, all those clowns jumping around is distracting when I would rather concentrate on the melancholy sweetness of the music.






Anyway, it took a hell of a long time to find a translation of the Italian words, and it wasn't on the internet either, but on a set of CD liner notes, with type so small you had to take a magnifiying glass to it. It had the Italian on one side and the English on the other, like a menu.(I once bought Coles notes for a Chaucer class, and it was the same deal) I had to transcribe the words line by line, and it took a while. I thought I posted something about it already, after all that work, but I can't find it. If this is repetitious, please forgive me.

Since I decided against the ballet version, which in fact was pretty silly, I had to make a few (gulp) gifs to fill the gap. I was trying to get something across which, as usual, I didn't quite. When you look up pulcinella, you get punchinello, a nasty little creature in a Milky the Clown-style puffy white suit, a conical hat and a nasty bird-beak. He's menacing, is what he is. He'd scare little children. But wasn't the commedia the thing that brought us Punch and Judy? Maybe they called it something else back then.






Pulcinella  
by Igor Stravinsky

(Tenor)

While on the grass
the lamb grazes
alone, alone
the shepherdess
amid the green leaves
through the forest
goes singing.

(Soprano)

Content perhaps to live
In my torment I might be
If I ever could believe
That, still far away, you were
Faithful to my love,
Faithful to this heart.

(Bass)

With these little words
So sweet
You rend my heart
To the depths.
Fair one, stay here,
Since if you say more
I must die.
With such sweet
Little words
You rend my heart
I shall die, I shall die.




(Soprano, tenor, bass)

I hear say there is no peace
I hear say there is no heart,
For you, ah, no, never,
There is no peace for you.

(Tenor)

Whoever says that a woman
Is more cunning than the Devil
Tells the truth.

(Soprano, tenor)

There are some women
Who care for none
And keep a hundred on a leash,
A shabby trick,
And have so many wiles
That none can count them.

One pretends to be innocent
And is cunning,
Another seems all modesty
Yet seeks a husband.
One clings to a man
And has so many wiles
That none can count them,
None can number them.




(Tenor)

One pretends to be innocent
And is, and is cunning
Another seems all modesty
Yet seeks a husband,
There are some
Who care, listen, for none.
Who cling to a man
And who flirt with another
And have a hundred on a leash
A shabby trick,
And have so many wiles
That none can count them.




(Soprano)

If you love me, if you sigh
For me alone, gentle shepherd,
I have pain in your suffering,
I have pleasure in your love,
But if you think that you alone
I should love in return,
Shepherd, you are easily
To be deceived.
A fair red rose
Today Silvia picks,
But pleading its thorn
Tomorrow she spurns it.
But the plans of men
I will not follow.
Because the lily pleases me,
I will not spurn other flowers.

(Soprano, tenor, bass)

Sweet eyes, bright with love,
For you my heart languishes.





11 comments:

  1. Thankyou so much for your wonderful online posting that I found when searching for lyrics to Stravinsky's Pulcinella. Wherever you are at present...I hope you might access the BBC audio broadcast from London's Royal Albert Hall tonight (6th August 2021) ...part of the Promenade Concert Series. I've been listening at home in Somerset, England on a digital radio...but searching on my laptop for something audiovisual. Your series of dancing clown 'clips' completed my understanding of the spirit of this piece.

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    1. Thank you so much! I'd forgotten I posted this SEVEN years ago - my formatting wasn't so hot then (I'll try to fix it!). I no longer run ads for my novels either! I may be able to pick up the concert on YouTube, maybe after the fact. I've seen some of the Proms videos before, my favorite being the Saint-Saens Organ Symphony. Glad you enjoyed this blast from the past!

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  2. Many thanks for posting the lyrics. When I was younger, I preferred the suite version, with no singing. But now well into middle age, and become more fascinated with the Commedia Dell'arte, I have a much bigger appreciation for the full ballet and its plot. But I still don't know Italian, so this is very useful!

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    1. Pulcinella was part of the background music of my youth. Though I was raised with (so-called) "classical" music, my Dad's taste in recordings was eclectic, and included the "modern stuff" (Stravinsky, Prokofiev, Barber, Shostakovich, and even Gershwin) which many of his confreres disdained. When we first listened to this work, we all laughed at the second-to-last movement with its goofy trombone-slides and double-bass stretches played in the highest register, an earthy and clownish effect. Stravinsky runs the gamut, as far as I am concerned, and can be tender, satiric, eccentric, mercurial, savage, and very funny. His Ragtime piece makes me laugh out loud, for some reason, maybe because it sounds so dire! Thank you for taking me back to this nearly-forgotten post.

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  3. Thank you for the info!

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    1. You're welcome! I may re-publish this one some time, as I sometimes do, given the fact I've kept this blog going for TWELVE years now - and if I don't remember the piece, no one else will either. It pays to recycle!

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  4. I learned about Igor Stravinsky by reading a book by Aaron Copland. The first piece I heard was the Rite of Spring, but I found that I preferred Petrushka and Firebird. I realized then that Stravinsky was constantly re-inventing himself and always trying new things. I got interested in his neoclassical period through Capriccio. Later I heard the Serenade, which I eventually got in score, for study. Pulcinella was something I added to my Spotify playlist. I'd heard it before, but moved past it for the Symphony of Psalms. I just watched Pulcinella on YouTube. The one I watched was: Basler Ballett, Academa of St. Martin in the Fields, cond. Sir Neville Marriner, choreography Heinz Spoerli Vers. 1980. It was magnificent! It makes much more sense to me as a ballet, because that's what the music was written for. Stravinsky's preference for orchestral versions seems to derive from the disastrous debut of the Rite, but he wrote beautifully, and from the heart, for the ballet, and knowing that, I find I appreciate his work so much more.

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    1. Thank you for your comments! It delights me to see that people are finding this post after nearly ten years. I'll be looking up that video for sure.

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  5. In July 2024 I saw an orchestral and voice performance of Pulcinella at Lincoln Center, NY. I love Stravinsky and his ballets and was privileged to see him conduct in person in Italy in 1962. I had never heard more than the first piece of Pulcinella. I was, however, disturbed by the English translation . I felt that it did not express the sarcasm and tongue and cheek which is so essential to the Commedia dell’arte. Perhaps the ballet would express it better. It was fun however that the Philharmonic did the piece.

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  6. Wow, you're really fortunate you got to see him! We had an album of just the suite in the 1960s and played the grooves off it. I never had any idea what the words meant, but I noticed some oddities. There did seem to be some clever verbal twists in it, such as:
    Mentre l’erbetta
    pasce l’agnella,
    pasce l’agnella
    To me, "pasce agnella" sounded a lot like "Pulcinella", so I wondered if it was a clever Stravinskyan pun.
    Then there was this:
    tra fresche frasche
    per la foresta
    cantando va.
    tra fresche frasche
    cantando va
    per la foresta
    cantando va
    cantando va
    cantando va
    Oh, surely this repeating and repeating of "la fresche frasche" was meant to be satiric, as it sounded like "music/shmusic" or some such clever pun. "Cantando va" sounds a bit silly when sung over and over again.
    I am sure any translation would be inadequate, as musical jokes don't translate that well, but I surely see some sly in-jokes here and there. I still love that clownish, almost cartoonish passage towards the end with the sliding trombones, before that incredible final chorus with all the singers, which actually makes me cry.
    I'm far from a musicologist, but as a child I was saturated in "classical" music. I did get to hear and see Leonard Bernstein in 1967 (first performance at Centennial Hall - I remember every part of it!), and at some point I saw and heard George Szell, but he didn't interest me too much and I called him George Sizzle. But then, I was something like ten years old!

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    1. I just thought of another one that always struck me as funny:
      Bella, restate qua,
      restate qua,
      ché se pit dite appresso,
      se dite, dite appresso,
      io cesso moriro,
      cesso moriro, moriro, etc.
      These lines are full of the playful repetition that makes the words sound kind of silly. I particularly like the "etc." here, and the "moriro, moriro, moriro, moriro" ("I will die, I will die, I will die, I will die") is sung in a jaunty, cheerful way.

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