“This is a short book but a teeming one, boiling over with the insights that have accrued over forty years and more, ever since Pieter van den Toorn set the musicological world on its ear with his revelations about Stravinsky's creative methods, deduced from an unprecedentedly close and fruitful examination of the published scores. Since then he has been at the manuscripts as well, and has made even further-reaching observations about Stravinsky's epochal rhythmic innovations. All of this he now places at the disposal of musicians and general readers, laid out with a chronology of the composer's life and times—a great gift to us all and a fitting crown to a most distinguished scholarly career.” —Richard Taruskin, author of Stravinsky and the Russian Traditions Born and raised in St. Petersburg, Russia, Igor Stravinsky (1882-1971) divided his time between law studies and music until 1906, when, under the tutelage of composer Nikolai Rimsky-Korsakov, he dedicated himself exclusively to composition. Five years later, he achieved international fame with his ballet scores The Firebird, Petrushka, and The Rite of Spring, the last of which caused a riot at its Paris premiere in 1913. For the next 50 years, both Stravinsky’s music style and his life were characterized by dramatic changes, as he moved from his “Russian period” to neo-classicism to serialism, and from Russia to Switzerland to France to the United States. Yet no matter how much his style changed, his music was always distinctively his, and his compositions remain among the greatest produced in the twentieth century. In Simply Stravinsky, Professor Pieter van den Toorn takes a fresh look at the composer and his legacy, providing a compact, exciting, and accessible introduction to the twentieth century’s most celebrated composer and his timeless music. From Stravinsky’s apprenticeship in St. Petersburg to his life among the émigré community in Southern California, Prof. van den Toorn shows how the composer’s music was tied to his personality and how it came to influence artists from Aaron Copland to Philip Glass. Designed for classical music beginners, as well as those who want to know more about one of the great musical innovators, Simply Stravinsky is an insightful and highly readable portrait of the man who helped define modern music.

Composer Igor Stravinsky and choreographer Vaslav Nijinsky, Russian comrades, worked together to bring a very different and new ballet to a Parisian audienceN"The Rite of Spring"Nand rioting filled the streets! Full color.

Packed with rich and fascinating detail, the third volume of the magisterial biography of Igor Stravinsky casts a brilliant new light on the greatest composer of the twentieth century. • “Among the best musical biographies of the last half-century, patiently disentangling fact and myth.” ―Minneapolis Star Tribune This volume begins in 1934, when Stravinsky is fifty-two and living in France. Already regarded by many as the most important composer of his generation, Stravinsky is nevertheless at this point a fairly unhappy expatriate, all too aware of the war clouds beginning to gather. Though he still maintains a family life with his wife and children, much of his time is spent with his mistress, Vera Sudeykina, while traveling around Europe giving concerts in order to earn the money to support his dependents–which include a number of relatives. Composing, of course, remains the center of his existence. But changes are imminent: within only a few years his wife, Katya, will be dead, his family scattered, and Stravinsky himself, together with Vera, starting over again in America. Stravinsky: The Second Exile follows the composer through the remainder of his long life, years during which he produces such masterworks as The Rake’s Progress and Symphony in C, and achieves a new level of fame as a conductor and raconteur in his own right. With a dazzling command of sources in several languages and a keen feeling for accuracy in situations where truth and falsehood have become blurred, Walsh traces and illuminates Stravinsky’s increasingly complex and often agonized family relationships along with his crucially important connection with his associate Robert Craft. Walsh is also, as a musicologist and critic, able to speak with knowledge and wit about Stravinsky’s work, expertly describing and assessing the composer’s musical journey from the neoclassicism of his late French and early American periods, through his early essays in serial technique, and on finally to the astonishing intricacies of his final compositions. The first volume of this biography, Stravinsky: A Creative Spring, was received with glowing praise for its insight, narrative skills, and readability. The period covered here, beset as it is with myths and misconceptions, is handled with even greater authority.

Studie over het werk van de Russische componist (1882-1971).

Popularly known during his lifetime as “The World’s Greatest Living Composer,” Igor Stravinsky (1882–1971) not only wrote some of the twentieth century’s most influential music, he also assumed the role of cultural icon. This book reveals Stravinsky’s two sides—the public persona, preoccupied with his own image and place in history, and the private composer, whose views and beliefs were often purposely suppressed. Charles M. Joseph draws a richer and more human portrait of Stravinsky than anyone has done before, using an array of unpublished materials and unreleased film trims from the composer’s huge archive at the Paul Sacher Institute in Switzerland. Focusing on Stravinsky’s place in the culture of the twentieth century, Joseph situates the composer among the giants of his age. He discusses Stravinsky’s first American commission, his complicated relationship with his son, his professional relationships with celebrities ranging from T. S. Eliot to Orson Welles, his flirtations with Hollywood and television, and his love-hate attitude toward the critics and the media. In a close look at Stravinsky’s efforts to mold a public image, Joseph explores the complex dance between the composer and his artistic collaborator, Robert Craft, who orchestrated controversial efforts to protect Stravinsky and edit materials about him, both during the composer’s lifetime and after his death.

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.

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 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

Context and composition -- Concerto as catalyst -- Analytical tools and recurring elements -- Counterpoint and tonality in the first movement -- Tetrachords and tritones in the largo -- Points of imitation in the finale

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.