The Cambridge Companion to Stravinsky (Cambridge Companions to Music)
Language: English
Pages: 344
ISBN: 0521663776
Format: PDF / Kindle (mobi) / ePub
Stravinsky's work spanned the major part of the twentieth-century and was engaged with nearly all its principal compositional developments. Reflecting the breadth of his phenomenal achievement, this Companion contains a wide range of essays in three broad sections covering the contexts within which Stravinsky worked--Russian, modernist and compositional, with his key compositions--Russian, neoclassical and serial, and with the reception of his ideas--through performance, analysis and criticism. The volume concludes with an interview with the composer Louis Andriessen and a major re-evaluation of "Stravinsky and us" by Richard Taruskin.
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. the opposition between linear and reverse perspective can be connected with either the immobility, or on the other hand, with the dynamism of the viewer’s position.48 Florensky observed that reverse perspective is ‘multi-central’, in contrast to ‘linear’ perspective, which is ‘unicentral’.49 Surely much fruitful enquiry could be conducted into the impact of folkloric style on Russian art and literature coterminous with or preceding Stravinsky’s most ‘Russian’ works. Similarly, a more detailed.
Of bass voices singing in chorus’.44 Unfortunately, the music of the Chant fun`ebre was never published, and the subsequent disappearance of the manuscript sources leaves us with no way of knowing very much about a piece that Stravinsky in old age was to recall as ‘the best of my works before the Firebird, and the most advanced in chromatic harmony’.45 The Nightingale, Act 1 (1908–9) After vocal music in Stravinsky’s student curriculum came opera, in the shape of a proposed three-act work based.
Painting, or, as Stravinsky himself described it, a Mondrian composition.37 Just as The Rake’s Progress might be understood to be an opera about opera, so Agon might be understood to be, in essence, a dance about dance. Balanchine first worked with Stravinsky on a production of The Song of the Nightingale in Paris in 1925. He later wrote that ‘Stravinsky’s effect on my own work has been always in the direction of control, of simplification and quietness.’38 The first work on which they genuinely.
The rotational arrays. The four-part arrays have a surprising propensity to generate wholetone harmonies: all of the chords indicated with an asterisk are subsets of the whole-tone scale. Whole-tone harmony is not normally associated with Stravinsky, but it occurs consistently in chorale passages derived from four-part arrays like this one. After sweeping through the four-part array, this movement concludes with an instrumental chorale based on a rotational array (derived from the first hexachord.
Interrupted by a recapitulation of the opening diatonic music. The dramatic impact of this moment draws part of its power from its invocation of a familiar contrast in Stravinsky’s music between the diatonic and the chromatic (or octatonic). In his earliest music, this dichotomy is a way of differentiating between the human and the fantastic worlds by associating the human with the diatonic and the fantastic with the chromatic, and often with the octatonic. In The Firebird, for example, this.