The French title denotes a form of turning or circling, and is used as a term in horsemanship. Its use here was possibly inspired by the ballerinas’ plumed headdresses; the ‘horses’ in the Preghiera section of the original Mozartiana also wore plumes. The ballet is an intricate work set to music for which Balanchine expressed special admiration. The ballet was remounted (with identical or near identical choreography) as Divertimento No. 15 in 1956.
Identical choreography of Caracole and Divertimento No. 15 affirmed by Diana Adams, Tanaquil Le Clercq, Jerome Robbins, Maria Tallchief. According to Patricia Wilde the choreography of the Andante in Divertimento No. 15 differed somewhat from that in Caracole.