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This volume contains all of the known musical sources and sketches for Stravinsky¿s Pulcinella (1919-1920) representing over 250 facsimile pages from the combined holdings of the Paul Sacher Stiftung (Basel) and the British Library (London) with invited essays by Lynn Garafola, , Ulrich Mosch, Jeanne Chenault Porter and Richard Taruskin. This publication was enhanced by the research of the late Barry Brook and by an appendix of song texts in the Neapolitan dialect by Dale Monson.Numerous tables in this publication provide efficient access to the entries on each page of the facsimile: according to the source groups, sketches, sources and sketches in order of the sources and sources and sketches in order of the published edition.In her commentary Maureen Carr discusses: the genesis of the idea for Pulcinella, the sources chosen by Stravinsky and those that he discarded, the sketches, as well as analytical perspectives on Stravinsky¿s compositional process for this work. In addition to the musical sources and sketches, other documents in this volume, such as a preliminary outline of the work in the hand of the painter, Pablo Picasso (Musée Picasso) and a more detailed scenario written out by the choreographer, Leonide Massine (Basel), will help scholars to understand the nature of the collaboration among these luminaries [the composer Igor Stravinsky (1882-1971), the Spanish painter Pablo Picasso (1881¿1973), the Russian choreographer Léonide Massine (Miasin; 1895¿1979), and the Russian impresario Sergei Diaghilev (1872¿1929)] that resulted in this astonishing dramatic work for dance and song. Book URL: https://www.areditions.com/books/MC002.html
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.
In the second edition of the definitive account of Igor Stravinsky's life and work, arranged in two separate sections, Eric Walter White revised the whole book, completing the biographical section by taking it up to Stravinsky's death in 1971. To the list of works, the author added some early pieces that have recently come to light, as well as the late compositions, including the Requiem Canticles and The Owl and the Pussycat. Four more of Stravinsky's own writings appear in the Appendices, and there are several important additions to the bibliography.
¿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."
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1962.
Fascinating critical and biographical portrait of famed 20th-century composer includes commentary on the evolution of such masterworks as The Firebird, Petrouchka, Le Sacre du Printemps, Pulcinella, and Histoire du Soldat.
A new look at one of the most important composers of the twentith century Stravinsky and His World brings together an international roster of scholars to explore fresh perspectives on the life and music of Igor Stravinsky. Situating Stravinsky in new intellectual and musical contexts, the essays in this volume shed valuable light on one of the most important composers of the twentieth century. Contributors examine Stravinsky's interaction with Spanish and Latin American modernism, rethink the stylistic label "neoclassicism" with a section on the ideological conflict over his lesser-known opera buffa Mavra, and reassess his connections to his homeland, paying special attention to Stravinsky's visit to the Soviet Union in 1962. The essays also explore Stravinsky's musical and religious differences with Arthur Lourié, delve into Stravinsky's collaboration with Pyotr Suvchinsky and Roland-Manuel in the genesis of his groundbreaking Poetics of Music, and look at how the movement within stasis evident in the scores of Stravinsky's Orpheus and Oedipus Rex reflected the composer's fierce belief in fate. Rare documents—including Spanish and Mexican interviews, Russian letters, articles by Arthur Lourié, and rarely seen French and Russian texts—supplement the volume, bringing to life Stravinsky's rich intellectual milieu and intense personal relationships. The contributors are Tatiana Baranova, Leon Botstein, Jonathan Cross, Valérie Dufour, Gretchen Horlacher, Tamara Levitz, Klára Móricz, Leonora Saavedra, and Svetlana Savenko.
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