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Hear the name “Igor Stravinsky” and the first thing that comes to mind is a composer of ponderous, “serious” music. But did you know that Stravinsky lived much of his life in Hollywood? That he collaborated on musical projects with Pablo Picasso and George Balanchine? That his work subtly espoused deeply held political views and reflected key literary influences? That he was not only interested in the modern communication technologies of his time—sound recording, radio, television, even early computers—but wrote music that echoed their impact? In Experiencing Stravinsky, music historian Robin Maconie takes a fresh approach to understanding this great composer’s works, explaining what makes Stravinsky’s sound unique and what we, as listeners, need to know in order to appreciate the variety and brilliance of his compositions. Experiencing Stravinsky is more than just another work of music appreciation. In the author’s deft hands, Stravinsky’s long musical career is a guided tour through 20th-century history, from Czarist Russia and two world wars to the height of the Hollywood era and the birth of the information age. Maconie has provided nothing less than an operating manual to getting the most out of Stravinsky’s music.
¿7FA study of the musical collaboration of Igor Stravinsky and George Balanchine, who created the music and movement for many ballet masterpieces. Drawing on extensive new research, Joseph discusses the Stravinsky-Balanchine ballets against a rich contextual backdrop."
Igor Stravinsky left behind a complex heritage of music and ideas. There are many examples of discrepancies between his literate statements about music and musicians and his musical compositions and activity. Per Dahl presents a model of communication that unveils a clear and logical understanding of Stravinsky's heritage, based on the extant material available. From this, Dahl argues the case for Stravinsky’s music and his ideas as separate entities, representing different modes of communication. As well as describing a triangular model of communication, based on a tilted and extended version of Ogden's triangle, Dahl presents an empirical investigation of Stravinsky's vocabulary of signs and expressions in his published scores - his communicative mode towards musicians. In addition to simple statistics, Dahl compares the notation practice in the composer’s different stylistic epochs as well as his writing for different sizes of ensembles. Dahl also considers Stravinsky’s performances and recordings as modes of communication to investigate whether the multi-layered model can soften the discrepancies between Stravinsky the literary and Stravinsky the musician.
"This book grew out of the International Stravinsky Symposium and the papers commissioned for it. The participants' new insights fall into three broad categories. First, there are those of a general nature that shed light on some of the central aesthetic issues of our time, as reflected in Stravinsky's music. Second, there are those that lead to a more precise understanding of the different periods of Stravinsky's career and the forces operating within them. Third, there are those that reveal threads of continuity that permeate Stravinsky's entire oeuvre." -- P. ix-x.
This ground-breaking study of Stravinsky’s spirituality presents a new view of his music as unified, challenging the current view which describes it as often discontinuous and static. Stravinsky’s spirituality is the origin of his radical restoration of time in music.
Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, is here placed at the centre of a fundamental reconsideration of his whole output - viewed from the unprecedented perspective of his relationship with the piano. Graham Griffiths assesses Stravinsky's musical upbringing in St Petersburg with emphasis on his education at the hands of two extraordinary teachers whom he later either ignored or denounced: Leokadiya Kashperova, for piano and Rimsky-Korsakov, for instrumentation. Their message, Griffiths argues, enabled Stravinsky to formulate from that intensely Russian experience an internationalist brand of neoclassicism founded upon the premises of objectivity and craft. Drawing directly on the composer's manuscripts, Griffiths addresses Stravinsky's lifelong fascination with counterpoint and with pianism's constructive processes. Stravinsky's Piano presents both of these as recurring features of the compositional attitudes that Stravinsky consistently applied to his works, whether Russian, neoclassical or serial, and regardless of idiom and genre.
Since the eighteenth century, violin concertos have provided a showcase for dramatic interplay between a soloist’s virtuosity and the blended sonority of an orchestra’s many instruments. Using this genre to showcase skill and ingenuity, composers cemented the violin concerto as a key genre of classical music and gifted our ears with such timeless masterpieces as Vivaldi’s Four Seasons. In Experiencing the Violin Concerto, Franco Sciannameo draws on his years of scholarship and violin performance to trace the genre through Baroque, Classical, and modern periods. Along the way, he explores the social and personal histories of composers, and the fabulous virtuosi who performed concertos, and audiences they conquered worldwide. Inviting readers to consider not only the components of the music but also the power of perception and experience, Sciannameo recreates the atmosphere of a live performance as he paints a narrative history of technique and innovation. Experiencing the Violin Concerto uses descriptions in place of technical jargon to make the world of classical music accessible to amateur music lovers. As part of the Listener’s Companion series, the volume gives readers an enhanced experience of key works by investigating the environments in which the works were written and first performed as well as those in which they are enjoyed today.
This study surveys music and dance from a global perspective, viewing them as a composite whole found in every culture. To some, music means sound and body movement. To others, dance means body movement and sound. The author examines the complementary connection between sound and movement as an element of the human experience as old as humanity itself. Music and dance from Africa, the Americas, Asia, Europe, the Middle East and the South Pacific are discussed.
Here, Levitz demonstrates how a group of collaboratoring artists - Igor Stravinsky, Ida Rubenstein, Jacques Copeau, André Gide and others - used the myth of Perséphone to perform and articulate their most deeply held beliefs about four topics significant to modernism: religion, sexuality, death, and historical memory in art.
The Bolsheviks’ 1917 political coup caused a seismic disruption in Russian culture. Carried by the first wave of emigrants, Russian culture migrated West, transforming itself as it interacted with the new cultural environment and clashed with exported Soviet trends. In this book, Klára Móricz explores the transnational emigrant space of Russian composers Igor Stravinsky, Vladimir Dukelsky, Sergey Prokofiev, Nicolas Nabokov, and Arthur Lourié in interwar Paris. Their music reflected the conflict between a modernist narrative demanding innovation and a narrative of exile wedded to the preservation of prerevolutionary Russian culture. The emigrants’ and the Bolsheviks’ contrasting visions of Russia and its past collided frequently in the French capital, where the Soviets displayed their political and artistic products. Russian composers in Paris also had to reckon with Stravinsky’s disproportionate influence: if they succumbed to fashions dictated by their famous compatriot, they risked becoming epigones; if they kept to their old ways, they quickly became irrelevant. Although Stravinsky’s neoclassicism provided a seemingly neutral middle ground between innovation and nostalgia, it was also marked by the exilic experience. Móricz offers this unexplored context for Stravinsky’s neoclassicism, shedding new light on this infinitely elusive term.