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

Hans Keller's text and Milein Cosman's vibrant illustrations combine to produce a unique and enlightening book on Stravinsky. Stravinsky the Music-Maker is the third incarnation of a book that has been greeted with superlatives on each previous appearance. Hans Keller and Milein Cosman collaborated down the decades of their married life, Keller'spen analysing music, Cosman's catching its makers at work. Stravinsky was a source of fascination for them both, and their Stravinsky at Rehearsal appeared in 1962, to be expanded, two decades later, as Stravinsky Seen and Heard. Stravinsky the Music-Maker offers the most generous compilation of their work yet: it includes Keller's complete articles on Stravinsky, written between 1954 and 1980, and augments Cosman's celebrated prints and drawings with a number not previously published. The introduction, by the composer Hugh Wood, sites the Keller-Cosman partnership in the framework of the British musical life they enriched. HANS KELLER (1919-85) fled Austria in1938 and became a commanding critical voice in British music journalism and on the BBC from the end of the war until his death. He is the author of numerous books, many illustrated by his wife Milein Cosman, including Criticism (Faber), The Great Haydn String Quartets (Dent), Essays on Music (CUP), Jerusalem Diary, Film Music and Beyond and Music and Psychology (all Plumbago). A critic of insight and integrity throughout his life, he remains a powerful influence to this day.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

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.

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.

The most celebrated of Western composers in the twentieth century, Igor Stravinsky may have been the greatest as well. Stretching across forty or so years, the essays in this volume address the dynamics of Igor Stravinsky’s music from a variety of analytical, critical, and aesthetic angles. Underscored are the features of melody, harmony, rhythm, and form that would remain consistently a part of Stravinsky’s oeuvre regardless of the changes in orientation from the Russian period to the neoclassical and the early serial. The Rite of Spring (1913), Les Noces (1917–23), the Symphony of Psalms (1930), and the Symphony in Three Movements (1945) are discussed in detail, as are many of the circumstances attending their conception. Other concerns include the composer’s "formalist" aesthetics and the strict performing style he pursued as an interpreter and conductor of his music.

"Joseph provides superb analyses of each of Stravinsky's ballet pieces, examining the composer's own drafts, notes and sketches to discover how he conceived of and developed each work."--Jacket.

One of the greatest of contemporary composers has here set down in delightfully personal fashion his general ideas about music and some accounts of his own experience as a composer. Every concert-goer and lover of music will take keen pleasure in his notes about the essential features of music, the process of musical composition, inspiration, musical types, and musical execution. Throughout the volume are to he found trenchant comments on such subjects as Wagnerism, the operas of Verdi, musical taste, musical snobbery, the influence of political ideas on Russian music under the Soviets, musical improvisation as opposed to musical construction, the nature of melody, and the function of the critic of music. Musical people of every sort will welcome this first presentation in English of an unusually interesting book.

Here is a critical survey of Stravinsky's entire output in chronological order, from an authoritative and lucid guide.

Yet, from the perspective of his later works, the static and discontinuous depictions of Stravinsky's music seem incomplete and perhaps even simplistic. The "building blocks" of his novel textures often consist of tunes with identifiable intervallic shapes, goal pitches, and defining durational patterns-organizations that engender continuity and connection. In other words, although its basic materials are combined into new, often dissonant and usually repetitive textures, those materials still originate in, and depend upon, traditional concepts of melody, harmony, and pulsation. Presenting an innovative analytical model for Stravinsky's compositions, Building Blocks seeks a fuller perspective, and enables a fresh, insightful approach to this music and the theoretical constructs behind it.