David Atherton's latest foray into 'unknown Stravinsky' last weekend was a double-edged sword. On the one hand, even the most insignificant music of undisputed genius has its revelations. On the other hand, a pot-boiler is a pot-boiler: Stravinsky had plenty of caviar and oysters in his musical larder, but he was hardly averse to using some mashed potatoes to glue the ingredients together.
That was certainly the case with Scenes de Ballet. I have never encountered any recording (though the HK Phil is scheduled to make a record later this year) and don't know any performance here.
The reasons are obvious. Stravinsky wrote it in 1944 for Broadway producer Billy Rose as the 'serious' section of a show. Knowing that Rose took that word seriously, Stravinsky didn't permit himself sarcasm or honest acuteness.
Instead, as played last weekend, it was a pastiche of unpretentious vulgarity and a few very touching moments.
The latter were supplied by some exquisite musical solos. I can think of few more delicately measured than those supplied by two solo cellists playing without vibrato, against the twittering first violin, all against the string section of the orchestra.
The few measures of solo by clarinet Andrew Simon were as entrancing as the tones of trumpet and horn together.