Jacques Samuel Handschin - Igor' Stravinskij

2021 ◽  
Vol 52 (2) ◽  
pp. 207-211
Author(s):  
Janna Knjazeva
Keyword(s):  
Igor Stravinsky

Der bislang bekannte Briefwechsel zwischen Igor Stravinsky und Jacques Handschin besteht aus neun Briefen Handschins an Stravinsky aus den Jahren 1931-33. Ein weiterer Brief Stravinskys an Handschin vom Juli 1920 konnte nun entdeckt werden. Das Hauptthema dieses Briefes ist Stravinskys Mutter Anna: Stravinsky bittet Handschin, ihm zu helfen, Kontakt mit ihr aufzunehmen. Im Postskriptum schreibt der Komponist über seine Ablehnung von Orgel und Orgelmusik. Der Brief erlaubt es, den Prozess des künstlerischen Schaffens Stravinskys besser zu verstehen und wirft ein neues Licht auf die Kontakte Handschins zur russischen Kultur nach seiner Emigration.

Rimsky-Korsakov and His World

2018 ◽  
Keyword(s):  
Great Influence ◽  
Igor Stravinsky ◽  
The West ◽  
Russian Culture ◽  
Center Stage ◽  
Russian Composers ◽  
General Aspects

During his lifetime, Nikolai Rimsky-Korsakov (1844–1908) was a composer whose work had great influence not only in his native Russia but also internationally. While he remains well-known in Russia—where many of his fifteen operas and various orchestral pieces are still in the standard repertoire—very little of his work is performed in the West today beyond Scheherezade and arrangements of The Flight of the Bumblebee. In Western writings, he appears mainly in the context of the Mighty Handful, a group of five Russian composers to which he belonged at the outset of his career. This book finally gives the composer center stage and due attention. In this book, Rimsky-Korsakov's major operas, The Snow Maiden, Mozart and Salieri, and The Golden Cockerel, receive multifaceted exploration and are carefully contextualized within the wider Russian culture of the era. The discussion of these operas is accompanied and enriched by the composer's letters to Nadezhda Zabela-Vrubel, the distinguished soprano for whom he wrote several leading roles. Other chapters look at more general aspects of Rimsky-Korsakov's work and examine his far-reaching legacy as a professor of composition and orchestration, including his impact on his most famous pupil Igor Stravinsky.

scholarly journals La danza de la tierra: el material musical, rito y sacrificio en La consagración de la primavera de Igor Stravinsky

Ricercare ◽  
2021 ◽  
pp. 97-115
Author(s):  
Nicolás Aguía Betancourt
Keyword(s):  
Igor Stravinsky ◽  
Rene Girard ◽  
René Girard ◽  
Siglo Xx

En este artículo, se examina la concepción adorniana del material musical en la obra de Stravinsky y el análisis del mito que hace el filósofo René Girard en La Consagración de la Primavera. La aproximación teórica desde la concepción girardiana del sacrificio permite reexaminar la obra de Stravinsky y el significado del impacto de escenificar el asesinato fundacional, a inicios del siglo XX. La estructura de la violencia sacrificial que expone Girard expande el análisis de la obra del compositor ruso ofreciendo una lectura antropológica del hecho artístico. De este modo, el horizonte crítico que abre el pensamiento girardiano apuntala una contextualización de la obra que va más allá de una postura respecto a la sedimentación del material musical.

scholarly journals The Musical Oeuvres of Rodion Shchedrin

ICONI ◽  
2021 ◽  
pp. 148-159
Author(s):  
Alexander I. Demchenko ◽  
Keyword(s):  
20Th Century ◽  
Present Situation ◽  
Igor Stravinsky ◽  
Sergei Rachmaninoff ◽  
Dmitri Shostakovich ◽  
Musical Compositions ◽  
Maximal Tension ◽  
Russian Composers

The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian and Georgy Sviridov. This series is continued with a lecture about the music of Rodion Shchedrin. Following the portions of the lecture which deal with the early and middle periods of the composer’s music, the drama and even the tragic quality of his world perception and their overcoming. the present situation acquired maximal tension upon Shchedrin’s turning to the most acute problem for the romantic consciousness — the problem of interactions of personality and its surroundings, especially in the event of their confrontation. During the lecture’s exposition fragments of musical compositions are offered with their recommended performances, in their sum providing a perception of the most substantial sides of Shchedrin’s musical legacy.

THE FORM OF THE SUITE IN BALLET AND ITS METRORHYTHMIC ORGANIZATION

2021 ◽  
Vol 1 (4) ◽  
pp. 41-46
Author(s):  
A. V. Galyatina ◽  
Keyword(s):  
Igor Stravinsky ◽  
Musical Form ◽  
Classical Dance ◽  
Swan Lake ◽  
Corrective Effect ◽  
Xixth Century ◽  
Ballet Music ◽  
Virtual Time ◽  
Temporal Proportions ◽  
Compositional System

The article reveals the peculiarities of metrorhythmic organization of the classical dance cycle (suite), typical for Russian ballet of the XIXth century and its evolution in the early XXth century under the influence of innovations in the field of rhythm in the ballets by Igor Stravinsky. The purpose of this article is to find mechanisms of interaction between dance and music based on coordination of their temporal parameters. The material of analysis is the classical dance cycle that performs both compositional and dramaturgical functions in the ballet. Apart from the metrorhythmic and compositional system of organizing time in ballet music, other types of time can be distinguished: real, psychological (subjective) and conceptual, artistic time organizing the processes of the characters' life cycle and the development of action in the virtual time of the artwork. In a classical dance cycle in each number, real time predominates, but when the numbers alternate, subject to the principle of contrast, the conceptual time has a corrective effect. The alternation of musical and choreographic numbers in a ballet determines the rhythm of the form or "compositional rhythm" (according to V. P. Bobrovsky). The correlation of temporal proportions of numbers is considered on the example of ballets "Swan Lake" by P. Tchaikovsky and "Petrushka" by I. Stravinsky. The compositional unit is the duration of the stage segment of the musical form, the change of which creates the rhythm of the form.

How Stravinsky Stopped Being a Rimsky-Korsakov Pupil

2018 ◽  
pp. 249-275
Author(s):  
Yaroslav Timofeev
Keyword(s):  
Igor Stravinsky ◽  
The Other ◽  
Maurice Ravel ◽  
Other Hand ◽  
Full Stop ◽  
The One

This chapter focuses on a dramatic moment in the life of Igor Stravinsky when he was forced to choose between loyalty to the memory of his beloved teacher Nikolai Rimsky-Korsakov on the one hand, and his new loyalty, both commercial and artistic, to Sergei Diaghilev on the other hand—a choice, in effect, between St. Petersburg and Paris. After Rimsky-Korsakov's death, Stravinsky's opinions on his teacher were rather odd. His comments were contradictory, his evaluations widely diverging, doubtless stemming from the fact that it was not always clear whether he was writing under the influence of Rimsky-Korsakov or in reaction to him. Stravinsky's active departure from his teacher's ways required no more than five years, and the end of this period was marked by a decisive full stop: Rimsky-Korsakov's completion of Modest Musorgsky's unfinished Khovanshchina was pushed aside when Stravinsky, together with Diaghilev and Maurice Ravel, issued a new version designed to correct all of Rimsky-Korsakov's “errors.”

Origins

Artful Noise ◽  
2020 ◽  
pp. 5-25
Author(s):  
Thomas Siwe
Keyword(s):  
Twentieth Century ◽  
Igor Stravinsky ◽  
Artistic Expression ◽  
Bela Bartok ◽  
Darius Milhaud ◽  
Early Twentieth Century ◽  
Cultural Movements ◽  
Unique Manner ◽  
To Come

This opening chapter contains a discussion of two early twentieth-century European art and cultural movements, Dadaism and Futurism, whose adherents rejected established modes of artistic expression and often staged provocative events to gain the public’s attention. In addition, there is a detailed look at the seminal works of three major composers, Igor Stravinsky, Darius Milhaud, and Béla Bartók, whose innovative use of percussion in their compositions gave license to those who followed. Each of the three composers exploited percussion in a unique manner, contributing to the standard literature and presaging what was to come.

IGOR STRAVINSKY (1882–1971)The Owl and the Pussy-Cat (1966)

2020 ◽  
pp. 300-302
Author(s):  
Jane Manning
Keyword(s):  
Large Scale ◽  
Igor Stravinsky ◽  
Strong Connection ◽  
Twelve Tone ◽  
Final Work

This chapter studies Igor Stravinsky's final work, The Owl and the Pussy-Cat. With typical sly relish, Stravinsky seems to be mocking any pomposity in his admirers, confounding everyone by leaving the stage with a brief, light-hearted coda to his cherished large-scale achievements. This well-loved nonsense verse by Edward Lear was the first poem his wife Vera got to know, and the piece is dedicated to her. This chapter reveals that the song has a strong connection between English and Russian schools of absurdist humour. To add to the fun, Stravinsky even here adheres to a strict twelve-tone system, affectionately lampooning the method he favoured for his last works.

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