The Composer Portraits series offers unique and original monographs on individual composers. Text and music introductions written by experts are combined with carefully chosen selections of newly-engraved music to give a concise but informed overview of the life and work of each composer. This edition focuses on the life and works of the Russian pianist and composer Igor Stravinsky, with notes by Jon Paxman. Songlist: - Les Cinq Doigts - No.4 and No.8 - L'histoire du Soldat - III. Marche royale - Piano-Rag-Music - Pulcinella - Scherzino - Renard - Marche - The Firebird Suite - Berceuse and Finale - Waltz (from Three Easy Pieces)

Through letters to and from Stravinsky--in all periods of his life--the book reveals the complexity, brilliance, and sharp edge of his mind, as well as the idiosyncrasies of his character. Like Stravinsky's life, the volume is divided into three sections: the Russian and Swiss years, the two decades in France between the World Wars, and the final thirty-two years in America. A fourth part, the Appendixes, contains supplementary essays concerning various aspects of Le Sacre Printemps as well as of the composer's life and work that were too detailed to be included in the main text, and finally a critical bibliography of studies of Stravinsky published since his death. Part One includes a large number of Stravinsky's letters (previously unpublished) to his parents; his teacher, Rimsky-Korsakov; his composer colleagues in Russia and France; and the Ballets Russes impresario, Serge Diaghilev.

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.

Full-color display posters of famous composers. Each composer portrait measures 16 x 20, is printed on high-quality varnished stock, and includes a short, informative biography of the composer printed on the back. Each portrait set contains 20 posters and a separate booklet with biographies. The modern composers set contains: Debussy * R. Strauss * Sibelius * Rachmaninoff * Schoenberg * Ives * Ravel * Bartók * Villa-Lobos * Stravinsky * Prokofieff * Grofé * Hindemith * Thompson * Gershwin * Copland * Menotti * Britten * Shostakovich * Hanson.

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.

This text reveals Stravinsky's two sides - the public persona preoccupied with his own image, and the private composer, whose views were often purposely suppressed.

Stravinsky in the Americas explores the “pre-Craft” period of Igor Stravinsky’s life, from when he first landed on American shores in 1925 to the end of World War II in 1945. Through a rich archival trove of ephemera, correspondence, photographs, and other documents, eminent musicologist H. Colin Slim examines the twenty-year period that began with Stravinsky as a radical European art-music composer and ended with him as a popular figure in American culture. This collection traces Stravinsky’s rise to fame—catapulted in large part by his collaborations with Hollywood and Disney and marked by his extra-marital affairs, his grappling with feelings of anti-Semitism, and his encounters with contemporary musicians as the music industry was emerging and taking shape in midcentury America. Slim’s lively narrative records the composer’s larger-than-life persona through a close look at his transatlantic tours and domestic excursions, where Stravinsky’s personal and professional life collided in often-dramatic ways.

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.

This book traces the remarkable course of a creative career which spanned the drawing rooms of the Imperial Russia and the social ferment of 1960s America, and serve to establish Stravinsky not only as the most celebrated composer of his time but also as one of the defining forces of twentieth-century culture.

Conversations with Igor Stravinsky is the first of the celebrated series of conversation books in which Stravinsky, prompted by Robert Craft, reviewed his long and remarkable life. The composer brings the Imperial Russia of his childhood vividly into focus, at the same time scanning what were at the time the brave new horizons of Boulez and Stockhausen with extraordinary acuity. Stravinsky answers searching questions about his musical development and recalls his association with Diaghilev and the Russian Ballet. There are sympathetic and extraordinarily illuminating reminiscences of such composers as Debussy and Ravel ('the only musicians who immediately understood Le Sacre du Printemps'), while mischievous squibs are directed at others, most notably perhaps against Richard Strauss, all of whose operas Stravinsky wished 'to admit ... to whichever purgatory punishes triumphant banality'. The conversations are by no means confined to musical subjects, ranging uninhibitedly across all the arts: Stravinsky gives unforgettable sketches of Ibsen, Rodin, Proust, Giacometti, Dylan Thomas and T S Eliot. 'The conversations between Igor Stravinsky and Robert Craft are unique in musical history. The penetration of Craft's questions and the patience and detail of Stravinsky's answers combine to produce an intimate picture of a man who has sometimes puzzled, often delighted, and always intrigued ...' The Sunday Times