Igor stravinsky biography summary organizers

Oxford: Oxford University Press. Straus, Joseph N. Stravinsky's Late Music. Cambridge Studies in Music Theory and Analysis. Taruskin, Richard a. In Sadie, Stanley ed. The New Grove Dictionary of Opera. Macmillian Press. Taruskin, Richard b. Taruskin, Richard Walsh, Stephen Walsh, Stephen 20 January Oxford Music Online. The New Grove Stravinsky.

Macmillian Publishers. White, Eric Walter In Hartog, Howard ed. European Music in the Twentieth Century. Pelican Books. Stravinsky, The Composer and his Works 2nd ed. Stravinsky: A Critical Survey, — Dover Publications. White, Eric Walter; Noble, Jeremy Macmillan Publishers. Stravinsky, Igor An Autobiography. Stravinsky, Igor; Craft, Robert Conversations igor stravinsky biography summary organizers Igor Stravinsky 1st ed.

Memories and Commentaries. Expositions and Developments. Stravinsky, Vera ; Craft, Robert Stravinsky in Pictures and Documents. Simon and Schuster. Wenborn, Neil ed. Translated by Walsh, Stephen. Schirmer Trade Books. Articles and dissertations [ edit ]. Benjamin, George 29 May The Guardian. Retrieved 15 April Browne, Andrew J. October Oxford University Press : — ISSN JSTOR Copeland, Robert M.

The Musical Quarterly. Craft, Robert December The Atlantic. Retrieved 6 April Fredrickson, Lawrence Thomas University of Illinois. Retrieved 1 June Glass, Philip 8 June Archived from the original on 5 June Goddard, Scott October Grammy Awards. Retrieved 25 May Henahan, Donal 7 April The New York Times. Archived from the original on 28 September Holland, Bernard 11 March Archived from the original on 24 March Lengel, Edward G.

White House Historical Association. Retrieved 21 May Matthews, David Winter Tempo 95 : 10— McFarland, Mark International Journal of Musicology. Peter Lang : — Mellers, Wilfrid Summer Tempo 81 : 29— Jet Propulsion Laboratory. Nandlal, Carina 22 May Colloquy Monash University : 81— Predota, Georg 17 March Retrieved 23 June Schiff, David September Performance Today.

National Public Radio. Retrieved 24 May April Music Theory Spectrum. Szabo, Kyle The evolution of style in the neoclassical works of Stravinsky Dissertation thesis. James Madison University. Retrieved 4 April Taruskin, Richard Autumn Journal of the American Musicological Society. University of California Press: — Taruskin, Richard 25 October Wilson, Elizabeth Hyperion Records.

Retrieved 8 June Zak, Rose A. Stravinsky used the now very postmodern technique of direct musical quotation and pastiche as early as in his work Pulcinella. Here he uses the music of Pergolesi as source material, sometimes directly quoting it and other times simply reinventing it, to create a new and refreshing work. He used the same technique in the ballet The Fairy's Kiss of Here it is the music of Tchaikovskyspecifically Swan Lakethat Stravinsky uses as his source.

Such compositional 'borrowing' would come into vogue in the sas in the work Sinfonia by Luciano Berio. There were other composers in the early 20th century who collected and augmented their native folk music and used these themes in their work. Yet in Le Sacre du Printemps we see Stravinsky again innovating in his use of folk themes. He strips these themes to their most basic outline, melody alone, and often contorts them beyond recognition with additive notes, inversionsdiminutionsand other techniques.

The late 19th century and early 20th century was a time ripe with orchestral innovation. Composers such as Anton Bruckner and Gustav Mahler were well regarded for their skill at writing for the medium. They, in turn, were influenced by the expansion of the traditional classical orchestra by Richard Wagner through his use of large forces and unusual instruments.

Stravinsky continued this Romantic trend of writing for huge orchestral forces, especially in the early ballets. But it is when he started to turn away from this tendency that he began to innovate by introducing unique combinations of instruments. For example, in L'Histoire du Soldat A Soldier's Tale the forces used are clarinetbassoontenor and bass trombonedouble basscornetviolin and percussiona very striking combination for its time This combining of distinct timbres would become almost a cliche in post- World War II classical music.

Another notable innovation of orchestral technique that can be partially attributed to Stravinsky is the exploitation of the extreme ranges of instruments. The most famous passage is the opening of the Rite of Spring where Stravsinky uses the extreme reaches of the bassoon to simulate the symbolic 'awakening' of a spring morning. It must also be noted that composers such as Anton WebernAlban Berg and Arnold Schoenberg igor stravinsky biography summary organizers also exploring some of these orchestral and instrumental techniques in the early 20th century.

Yet their influence on succeeding generations of composers was equalled if not exceeeded by that of Stravinsky. To say that much of it is hideous as sound is a mild description. There is certainly an impelling rhythm traceable. Practically it has no relation to music at all as most of us understand the word. What has become of the works that made up the program of the Stravinsky concert which created such a stir a few years ago?

Practically the whole lot are already on the shelf, and they will remain there until a few jaded neurotics once more feel a desire to eat ashes and fill their belly with the east wind. Further, the 'melodic fragments in L'Histoire du Soldat are completely meaningless themselves. They are merely successions of notes that can conveniently be divided into groups of three, five, and seven and set against other mathematical groups', and the cadenza for solo drums is, 'musical purity He compares Stravinsky's choice of, 'the drabbest and least significant phrases', to Gertrude Stein 's: 'Everday they were gay there, they were regularly gay there everyday' 'Helen Furr and Georgine Skeene','whose effect would be equally appreciated by someone with no knowledge of English whatsoever'.

In his book Philosophy of Modern Music Theodor Adorno calls Stravinsky an acrobat, a civil servant, a tailor's dummy, hebephrenic, psychotic, infantile, fascist, and devoted to making money. This trick, however, soon exhausts itself. Artists Stravinsky Biography. Biographies Letter S Stravinsky biography. Igor Stravinsky - Biography Igor Stravinsky.

Stravinsky and Pablo Picasso collaborated on Pulcinella in Picasso took the opportunity to make several sketches of the composer. Both of these works feature what was to become a hallmark of this period; that is, Stravinsky's return, or "looking back," to the classical music of Wolfgang Amadeus Mozart and Johann Sebastian Bach and their contemporaries.

This " neo-classical " style involved the abandonment of the large orchestras demanded by the ballets. In these new works, written roughly between andStravinsky turns largely to wind instruments, the piano, and choral and chamber works. The Symphonies of Wind Instruments and Symphony of Psalms are among the finest works ever composed for winds.

Some larger works from this period are the three symphonies: the Symphonie des Psaumes Symphony of PsalmsSymphony in C and Symphony in Three Movements Apollon, Persephone and Orpheus also mark Stravinsky's concern, during this period, of not only returning to Classic music but also returning to Classic themes: in these instances, the mythology of the ancient Greeks.

The pinnacle of this period is the opera The Rake's Progress. It was completed in and, after stagings by the Metropolitan Opera inwas almost ignored. It was presented by the Santa Fe Opera in its first season in with Stravinsky in attendance, the beginning of his long association with the company. This opera, written to a libretto by W. Auden Auden and based on the etchings of William Hogarthencapsulates everything that Stravinsky had perfected in the previous 20 years of his neo-classic period.

The music is direct but quirky; it borrows from classic tonal harmony but also interjects surprising dissonances; it features Stravinsky's trademark off-rhythms; and it hearkens back to the operas and themes of Claudio MonteverdiChristoph Willibald Gluck and Mozart. After the opera's completion, Stravinsky never wrote another neo-classic work but instead began writing the music that came to define his final stylistic change.

Only after the death of Arnold Schoenberg in did Stravinsky begin using dodecaphony, the twelve-tone system which Schoenberg had devised, in his works.

Igor stravinsky biography summary organizers

Stravinsky was aided in his understanding of, or even conversion to, the twelve-tone method by his confidant and colleague, Robert Craft, who had long been advocating the change. The next fifteen years were spent writing the works in this style. Stravinsky first began to experiment with the twelve-tone technique in smaller vocal works such as the CantataThree Songs from Shakespeare and In Memoriam Dylan Thomas Canticum Sacrum is his first piece to contain a movement entirely based on a tone row.

He later began expanding his use of dodecaphony in works often based on biblical texts, such as ThreniA Sermon, a Narrative, and a Prayerand The Flood An important transitional composition of this period of Stravinsky's work was a return to the ballet: Agon, a work for 12 dancers written from to Some numbers of Agon recollect the "white-note" tonality of the neo-classic period, while others the Bransle Gay display his unique re-interpretation of serial method.

The ballet is thus like miniature encyclopedia of Stravinsky, containing many of the signatures to be found throughout his compositions, whether primitivist, neo-classic, or serial: rhythmic quirkiness and experimentation, harmonic ingenuity, and a deft ear for masterly orchestration. These characteristics are what make Stravinsky's work unique when compared with the work of contemporaneous serial composers.

Stravinsky's work embraced multiple compositional styles, revolutionized orchestration, spanned several genres, practically reinvented ballet form and incorporated multiple cultures, languages and literatures. As a consequence, his influence on composers both during his lifetime and after his death was, and remains, considerable.

Stravinsky began re-thinking his use of the motif and ostinato as early as The Firebird ballet, but his use of these elements reached its full flowering in The Rite of Spring. Motivic development, that is using a distinct musical phrase that is subsequently altered and developed throughout a piece of music, has its roots in the sonata form of Mozart's age.

The first great innovator in this method was Ludwig van Beethoven ; the famous "fate motif" which opens Beethoven's Fifth Symphony and re-appears throughout the work in surprising and refreshing permutations is a classic example. However, Stravinsky's use of motivic development was unique in the way he permutated his motifs. In the "Rite of Spring" he introduces additive permutations, that is, subtracting or adding a note to a motif without regard to changes in meter.

The same ballet is also notable for its relentless use of ostinati. The most famous passage, as noted above, is the eighth note ostinato of the strings accented by eight horn that occurs in the section Auguries of Spring Dances of the Young Girls. This is perhaps the first instance in music of extended ostinato which is neither used for variation nor for accompaniment of melody.

At various other times in the work Stravinsky also pits several ostinati against one another without regard to harmony or tempo, creating a 'pastiche', a sort of musical equivalent of a Cubist painting. These igor stravinsky biographies summary organizers are notable not only for this pastiche-quality but also for their length: Stravinsky treats them as whole and complete musical sections.

Such techniques foreshadowed by several decades the minimalist works of composers such as Terry Riley and Steve Reich. Stravinsky was not the first practitioner of the Neoclassical style; in fact the German composer Richard Strauss might be its first and greatest example he composed the Mozartian Der Rosenkavalier inas Stravinsky was just beginning the works of his Russian period.

Others, such as Max Reger, were composing in the manner of Bach long before Stravinsky, but certainly the latter is a brilliant Neo-classical musician. The Neoclassical style would be later adopted by composers as diverse as Darius Milhaud and Aaron Copland. Sergei Prokofiev once chided Stravinsky for his Neoclassical mannerisms, though sympathetically, as Prokofiev had broken similar musical ground in his Symphony No.

Stravinsky announced his new style in with the stripped-down and delicately scored Octet for winds. The clear harmonies, looking back to the Classical music era of Mozart and Bach, and the simpler combinations of rhythm and melody were a direct response to the complexities of the Second Viennese School. That, in turn, led to the commission of The Firebird ; a collaboration with choreographer Michel Fokine, the ballet turned Stravinsky into a household name upon its premiere in Paris in June The composer's fame was reinforced with the production of Petrouchka in and especially with The Rite of Springwhich incited a riot upon its premiere but was soon hailed for its revolutionary score.

He dealt with his homesickness by using Russian folklore as inspiration for his work, while other compositions from this time exhibited a jazz influence. Two of his best known works from his Swiss period are Renardcomposed between andand Les Noceswhich he started in but didn't complete until In Stravinsky moved his family to France, where they lived for the next two decades.

He continued his prolific output into the s, composing such works as Symphony of PsalmsPersephoneJeu de Cartes and Concerto in E-flat. Following the deaths of his wife and a daughter from tuberculosis, Stravinsky moved to the United States in He delivered a series of lectures at Harvard University, and in he married artist and designer Vera de Bossett.

That year, Stravinsky also finished one of his most important works, Symphony in C. Stravinsky was nearly arrested for his rearrangement of the national anthem during a performance in Boston inbut otherwise he found a welcome reception in his new country. He became a U. After a period of decline in his health, Stravinsky died at his Manhattan apartment on April 6,