Petrushka, Márquez's Danzón No 2 and Khatchaturian | Ealing Symphony Orchestra

We continue our spring season with Arturo Márquez's lively Danzón No 2. The rhythmic interest in the piece is maintained through the use of varying accents and tempo. This staple of the contemporary Mexican music literature expresses and reflects on the dance style named danzón, which has its origins in Cuba but is a very important part of the folklore of the Mexican state of Veracruz. The music was inspired by a visit to a ballroom in Veracruz.

We continue with Khachaturian's rarely performed cello concerto. One of only three concerti the composer wrote (the other two are for piano and violin), despite the fact that Khachaturian himself studied the cello. The work is said to echo Khachaturian's painful experiences of war-time. It contains many allusions to folk material and dance rhythms such as the ashoug. We are delighted to welcome Willard Carter for this performance.

Finally, we have Stravinsky's exuberant ballet Petrushka. Originally composed in 1911-12, it was revised in 1947 - it is the later version we will be performing. In Russian folklore, Petrushka is a puppet. He is a character known across Europe under different names: Punch in England, Polichinelle in France, Pulcinella in Italy, Kasperle in Germany, and Petrushka in Russia. The ballet deals with three puppets - the beautiful ballerina, perpetually en pointe, the Moor, and Petrushka himself, who is in love with the ballerina but she has rejected him for the Moor. The three are brought to life in the Shrovetide Fair (the opening scene) and we see the loves and jealousies of the characters throughout one day.