Stravinsky, "Russian Dance"

In an earlier post (link), I wrote that the final cadence of the "Russian Dance" from Stravinsky's Petrushka "is a famous example [of the bass moving as expected while the upper-voices don't go as neatly as one—traditionally, at least—might like]. The C5 as the top note doesn't budge, nor does the A5 below it, while the bass pounds out a simple ii-V-I."

 

In fact, from the standpoint of this blog's theme, the entire dance is very interesting. Its signature harmony is a prolonged C: V9. Here is the beginning:

True, V11 does resolve to e6 in bar 8, that is, to iii as a functional (third-related) substitute for I. I can't go so far as to imagine e6 as a CM7 without its root but I'll allow that it's not out of the question.

In the return of the opening figure at rehearsal 43, the V9 is unequivocal:

Here's the continuation from that point to the end:

And here's another take on the final bars:

The G11 is still "full diatonic", containing all the thirds above G up to the 11th, that is, not deleting the third (which would be typical and is recommended). Oddly, the ii11 that follows does delete the third (F). The penultimate chord marked V11 is the same "full diatonic" version.

NB: I've based this on the published piano reduction, not the full score.