Dance rhythms run through all these three scores, even the attractive Dumbarton Oaks concerto for which Stravinsky drew an analogy with Bach’s Brandenburg Concertos – but after all, dance rhythms nudge their way into those, too. Norrington maintains good, clear textures, and an expressive melodic line even when Stravinsky chooses to present this in disrupted form. The quirkiness of the second movement has been more sharply emphasised by others; here is it not short of charm, a quality Stravinsky suspected, and there is a sharp edge to the rhythms of the final con moto. With the element of actual dance in the Danses concertantes, which rapidly found their way into the hands of Balanchine and the stage, it is possible to find a touch more sheer gaiety of motion, though there is a lively step to the marches that open and close the piece. Norrington clearly enjoys the wit of the scherzando movement in the Variations. The Soldier’s Tale Suite is deftly played, though it has to be said that the movements gain a sharpness from being part of the narrative ballet. Away from context, they are bound to lack some of their dramatic edge, indeed irony. But Norrington and his players, who are given careful individual attention by the recording, produce a nicely sly account of the Tango, an eerily edgy Waltz and a distinctly sarcastic Ragtime. The percussionist rises to the occasion with the terrifying final ‘Triumphal March of the Devil’, as tatters of the soldier’s violin music, his soul, are blown away by the merciless drums until there is no music left animating him.