For a Russian composer temporarily settled in Paris in 1921 and facing the rigors of the post-war period, the offer of five thousand francs for the composition of a piano piece was not negligible. That was the sum the piano virtuoso Arthur Rubinstein promised Igor Stravinsky for a Russian character piece in which he could display his grandiose technique.
Stravinsky recalled the pieces he had sketched in 1911 for an orchestral piece with prominent piano participation, which he had reoriented into a ballet at the behest of Russian impresario Sergei Diaghilev. Those sketches and excerpts from the ballet eventually formed the solo piano piece Three Movements of Petrushka, ten years after the debut of the successful ballet starring Petrushka, the puppet that comes to life, in the Russian tradition.
Stravinsky, the pianist
Rubinstein, the dedicatee of the work, was highly pleased with it, performing it on numerous occasions. Of course, he was also interested in making known the piano work of the Russian composer, whom, until today, we do not easily relate to piano writing, although Stravinsky was an extremely talented pianist who, during most of his adult life, devoted half of each year to giving concerts and the other half to composing.
The Path
Prior to the undertaking that culminated in the Three Movements, the future author of The Rite of Spring and The Firebird had surprised musical circles in his twenties with a piano sonata in 1903. Then came, in 1908, the Four Studies of opus 7, which already showed maturity and a piano language full of promise. But the significant new contribution to the piano will come in 1921 with this brilliant "reduction" of the ballet Petrushka, plagued with difficulties, and which, despite the nearly one hundred years since its invention, is still today among the most "spectacular" works of the piano repertoire.
Prior to the undertaking that culminated in the Three Movements, the future author of The Rite of Spring and The Firebird had surprised musical circles in his twenties with a piano sonata in 1903. Then came, in 1908, the Four Studies of opus 7, which already showed maturity and a piano language full of promise. But the significant new contribution to the piano will come in 1921 with this brilliant "reduction" of the ballet Petrushka, plagued with difficulties, and which, despite the nearly one hundred years since its invention, is still today among the most "spectacular" works of the piano repertoire.
The three movements
The work is known for its enormous technical and musical difficulties. Almost without respite, they capture its three movements with a great display of polyrhythm, extensive and fast jumps, very fast scales, as well as glissandos and tremolos everywhere. Its parts are:
00:00 No 1 Danse russe (Russian Dance)
02:29 No 2 Chez Pétrouchka (Petrushka's Room)
06:48 No 3 La semaine grasse (The Shrovetide Fair)
The rendition, dazzling, is by the brilliant pianist Yuja Wang.
