回复：请教，哪位有斯特拉文斯基《士兵的故事》解说词？
In The Soldier's Tale, Stravinsky's "jazz" Faust, the Devil is identified with the percussion, the Soldier with the violin. The last pages of the score portray the victory of the former over the latter quite literally as the wind instruments and double bass gradually drop out and, after a few final splutters, the violin as well, leaving the percussion to conclude the drama alone. The Devil's motive at the beginning of this march to Hell, a note repeated on four beats followed by an ascending five-note scale in doubly fast note values, is first introduced near the end of the "Royal March" (violin, clarinet), then repeated in the "Little Concert" (trombone), and made the principal theme of "The Devil's Dance." But the interweaving of motives throughout The Soldier's Tale is a large subject, in, for example, the recurrence in the "Little Concert" of thematic material from the "Soldier's March" and "Music to Scene I"; a motive from "Music to Scene I" in the "Tango"; and of the two-note figure in the bass in "Music to Scene I" at the end of "Music to Scene II" (bassoon).
