Although this action has been interpreted as a championing of post-war serialism, in fact at this early date it was the exoticism and mysticism of Messiaen's music that fired the young composers' imagination, and not Schoenberg's twelve-tone technique.
[2] Stravinsky scored the Danses concertantes for a chamber orchestra consisting of flute, oboe, clarinet, bassoon, two horns, trumpet, trombone, timpani, and a string section specified as six violins, four violas, three cellos, and two double basses.
The concertante style strongly resembles the Dumbarton Oaks Concerto (1938), and the thematic material generally, but particularly the opening of the second movement, recalls the Symphony in C of 1939.
[3] George Balanchine choreographed Danses concertantes for a 1944 production by the Ballet Russe de Monte-Carlo, with sets and costumes by Eugène Berman.
A second choreography was created by Kenneth MacMillan in 1955 for the Sadler's Wells Theatre Ballet in London, with scenery and costumes by Nicholas Georgiadis.