Duo Concertant is danced by a man and a woman, alongside a pianist and a violinist, both onstage.[1]Kay Mazzo, an original cast member of Duo Concertant, said, "In Duo ConcertantPeter Martins and I just did the same thing over and over. Balanchine said that's what the music does."[2]
In the first of five movements, Cantilena, the dancers simply stand and listen to the music. According to Mazzo, Balanchine told her, "Now we're going to have them listen."[3]: 279–280 In the next movement, the first Eclogue,[3]: 280 the two dancers, as New York Times critic Anna Kisselgoff described, "start dancing as if the music impels them to do so."[1] Commenting on this movement of the ballet, dance critic Richard Buckle wrote, "The two dancers experiment."[3]: 280 The pair retreat to the piano when the second Eclogue begins, he then "leads her to a pas de deux." This is followed by the Gigue, which Buckle described, "They dance both alone and together."[3]
There is a blackout before the final movement, Dithyrambe. This movement is performed under a spotlight.[3]: 281 Kisselgoff analysed, "the woman seemingly represents a muse. She and the man cannot find each other at first but finally she remains rooted to the spot as he kneels at her feet: the lover before his feminine ideal, the cavalier before the ballerina, Balanchine's artistic ideal."[1] Mazzo was stunned by the emotional ending, "It was quite unusual for [Balanchine] in his Stravinsky ballets."[3]: 280
Production
Stravinsky and Balanchine collaborated for many years until the former's death in 1971. The latter then decided to have the New York City Ballet hold the week-long Stravinsky Festival to honor the composer.[3]: 266–267 [4] There were at least 20 premieres,[4] seven of which were choreographed by Balanchine.[5]: 317
Duo Concertant was made on Kay Mazzo and Peter Martins.[2] The festival marked the first time Balanchine choreographed on Martins, who in addition to Duo Concertant, also created a role in Stravinsky Violin Concerto.[5]: 350 Rehearsals started on April 11, 1972, and according to author Nancy Goldner, it was given fourteen hours. Mazzo, however, felt it was not complete until the last minute.[3]: 279 The dress rehearsal was held on the morning of the premiere. Balanchine did not tell the dancers he planned to have a blackout before the fifth movement until that rehearsal.[3]: 280
Prior to Balanchine's death, he gave the rights of Duo Concertant to Mazzo.[3]: 317
In 1975, Mazzo and Martins reprised their roles in Duo Concertant for the PBSGreat Performances program "Three by Balanchine with the New York City Ballet."[13]
In 2020, during the COVID-19 pandemic, the New York City Ballet released a 2019 archival recording of Duo Concertant online, featuring dancers Megan Fairchild and Anthony Huxley, violinist Arturo Delmoni and pianist Elaine Chelton.[15]
In 2021, for New York City Ballet's first virtual gala, an excerpt of Duo Concertant, danced by Ashley Bouder and Russell Janzen, was featured in a film made by Sofia Coppola.[16]