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Author: Helen Sills
Publisher: BRILL
ISBN: 9004518533
Category : Biography & Autobiography
Languages : en
Pages : 372
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Book Description
This ground-breaking study of Stravinsky’s spirituality presents a new view of his music as unified, challenging the current view which describes it as often discontinuous and static. Stravinsky’s spirituality is the origin of his radical restoration of time in music.
Author: Helen Sills
Publisher: BRILL
ISBN: 9004518533
Category : Biography & Autobiography
Languages : en
Pages : 372
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Book Description
This ground-breaking study of Stravinsky’s spirituality presents a new view of his music as unified, challenging the current view which describes it as often discontinuous and static. Stravinsky’s spirituality is the origin of his radical restoration of time in music.
Author: Patrick Kavanaugh
Publisher: Zondervan
ISBN: 0310208068
Category : Biography & Autobiography
Languages : en
Pages : 260
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Book Description
This is a compelling and inspiring look at spiritual beliefs that influenced some of the world's greatest composers, now revised and expanded with eight additional composers.
Author: Jann Pasler
Publisher: Univ of California Press
ISBN: 9780520054035
Category : Biography & Autobiography
Languages : en
Pages : 412
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Book Description
"This book grew out of the International Stravinsky Symposium and the papers commissioned for it. The participants' new insights fall into three broad categories. First, there are those of a general nature that shed light on some of the central aesthetic issues of our time, as reflected in Stravinsky's music. Second, there are those that lead to a more precise understanding of the different periods of Stravinsky's career and the forces operating within them. Third, there are those that reveal threads of continuity that permeate Stravinsky's entire oeuvre." -- P. ix-x.
Author: Kimberly A. Francis
Publisher: Oxford University Press
ISBN: 019046366X
Category : Music
Languages : en
Pages : 296
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Book Description
In 1929 Nadia Boulanger accepted Igor Stravinsky's younger son, Soulima, as her student. Within two years, Stravinsky and Boulanger merged their artistic spheres, each influencing and enhancing the cultural work of the other until the composer's death in 1971. Teaching Stravinsky tells Boulanger's story of the ever-changing nature of her fractious relationship with Stravinksy. Author Kimberly A. Francis explores how Boulanger's own professional activity during the turbulent twentieth-century intersected with her efforts on behalf of Stravinsky, and how this facilitated her own influential conversations with the composer about his works while also drawing her into close contact with his family. Through the theoretical lens of Bourdieu, and drawing upon over one thousand pages of letters and scores, many published here for the first time, Francis examines the extent to which Boulanger played a foundational role in defining, defending, and ultimately consecrating Stravinsky's canonical identity. She considers how the quotidian events in the lives of these two icons of modernism informed both their art and their professional decisions, and convincingly argues for a reevaluation of the influence of women on cultural production during the twentieth century. At once a story of one woman's vibrant friendship with an iconic modernist composer, and a case study in how gendered polemics informed professional negotiations of the artistic-political fields of the twentieth-century, Teaching Stravinsky sheds new light not only on how Boulanger taught Stravinsky, but also how, in doing so, she managed to influence the course of modernism itself.
Author: Klara Moricz
Publisher: Univ of California Press
ISBN: 0520975529
Category : Music
Languages : en
Pages : 309
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Book Description
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.
Author: Igor Stravinsky
Publisher:
ISBN:
Category : Composers
Languages : en
Pages : 518
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Book Description
"This initial selection from the extraordinary lifetime of letters to and from Igor Stravinsky, annotated by his friend and associate Robert Craft, includes correspondence with W. H. Auden, Jean Cocteau, Lincoln Kirstein and other friends, as well as Stravinsky's letters to Nadia Boulanger, Ernest Ansermet, and Craft himself. The book presents a wealth of previously unpublished information about Stravinsky's relationships with other musicians, and about his methods of composition. The opening section, based on letters to Stravinsky from his first wife Catherine, is among the most important material yet made available for an understanding of the composer's personal and family life. If the exchanges with Auden (The Rake's Progress) and Cocteau (Oedipus Rex) take first place for general interest, the letters to Ansermet - who conducted more performances of Stravinsky's music than anyone but the composer himself - give a remarkable view of the musical and ballet worlds, especially of the Diaghilev period, and of the great impresario himself. This book, accompanied by two further volumes, is a major contribution to the Stravinsky canon and to the cultural history of the twentieth century."--whsmith.co.uk.
Author: Alex Ross
Publisher: Farrar, Straus and Giroux
ISBN: 1429932880
Category : Music
Languages : en
Pages : 640
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Book Description
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.
Author: Tamara Levitz
Publisher: Princeton University Press
ISBN: 0691159882
Category : Biography & Autobiography
Languages : en
Pages : 384
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Book Description
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.
Author: Richard Taruskin
Publisher: Univ of California Press
ISBN: 0520293487
Category : Music
Languages : en
Pages : 992
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Book Description
This book undoes 50 years of mythmaking about Stravinsky's life in music. During his spectacular career, Igor Stravinsky underplayed his Russian past in favor of a European cosmopolitanism. Richard Taruskin has refused to take the composer at his word. In this long-awaited study, he defines Stravinsky's relationship to the musical and artistic traditions of his native land and gives us a dramatically new picture of one of the major figures in the history of music. Taruskin draws directly on newly accessible archives and on a wealth of Russian documents. In Volume One, he sets the historical scene: the St. Petersburg musical press, the arts journals, and the writings of anthropologists, folklorists, philosophers, and poets. Volume Two addresses the masterpieces of Stravinsky's early maturityÑPetrushka, The Rite of Spring, and Les Noces. Taruskin investigates the composer's collaborations with Diaghilev to illuminate the relationship between folklore and modernity. He elucidates the Silver Age ideal of "neonationalism"Ñthe professional appropriation of motifs and style characteristics from folk artÑand how Stravinsky realized this ideal in his music. Taruskin demonstrates how Stravinsky achieved his modernist technique by combining what was most characteristically Russian in his musical training with stylistic elements abstracted from Russian folklore. The stylistic synthesis thus achieved formed Stravinsky as a composer for life, whatever the aesthetic allegiances he later professed. Written with Taruskin's characteristic mixture of in-depth research and stylistic verve, this book will be mandatory reading for all those seriously interested in the life and work of Stravinsky.
Author: Richard Taruskin
Publisher: Univ of California Press
ISBN: 0520293495
Category : Music
Languages : en
Pages : 798
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Book Description
This book undoes 50 years of mythmaking about Stravinsky's life in music. During his spectacular career, Igor Stravinsky underplayed his Russian past in favor of a European cosmopolitanism. Richard Taruskin has refused to take the composer at his word. In this long-awaited study, he defines Stravinsky's relationship to the musical and artistic traditions of his native land and gives us a dramatically new picture of one of the major figures in the history of music. Taruskin draws directly on newly accessible archives and on a wealth of Russian documents. In Volume One, he sets the historical scene: the St. Petersburg musical press, the arts journals, and the writings of anthropologists, folklorists, philosophers, and poets. Volume Two addresses the masterpieces of Stravinsky's early maturityÑPetrushka, The Rite of Spring, and Les Noces. Taruskin investigates the composer's collaborations with Diaghilev to illuminate the relationship between folklore and modernity. He elucidates the Silver Age ideal of "neonationalism"Ñthe professional appropriation of motifs and style characteristics from folk artÑand how Stravinsky realized this ideal in his music. Taruskin demonstrates how Stravinsky achieved his modernist technique by combining what was most characteristically Russian in his musical training with stylistic elements abstracted from Russian folklore. The stylistic synthesis thus achieved formed Stravinsky as a composer for life, whatever the aesthetic allegiances he later professed. Written with Taruskin's characteristic mixture of in-depth research and stylistic verve, this book will be mandatory reading for all those seriously interested in the life and work of Stravinsky.
