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Hace 6 días · Igor Stravinsky. Igor Fyodorovich Stravinsky [a] (17 June [ O.S. 5 June] 1882 – 6 April 1971) was a Russian composer and conductor with French citizenship (from 1934) and American citizenship (from 1945). He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music .
- Overview
- Legacy of Igor Stravinsky
Like that of so many masters, Stravinsky’s fame rests on only a few works and one or two of his more important achievements. In The Rite of Spring he presented a new concept of music involving constantly changing rhythms and metric imbalances, a brilliantly original orchestration, and drastically dissonant harmonies that have resonated throughout the 20th century. Later Stravinsky was regarded as the typical rootless exile, a creative chameleon who could dart from style to style but who never recaptured the creative depth of his first masterpieces. Yet the more spectacular modernisms of The Rite of Spring belong to the evolution of Russian nationalist music from Modest Mussorgsky to Nikolay Rimsky-Korsakov, while that work’s feeling of “primitive dynamism” is a period feature that is found in much music of the early 20th century. Nor were the discordant harmonies of The Rite of Spring entirely new in 1913, though Stravinsky was the first to pursue Claude Debussy’s purely sensual approach to chords into a harmony that was not itself obviously beautiful.
The percussive violence and barbaric tone colours of The Rite of Spring did, however, conceal a new kind of rhythmic sensibility and an empirical attitude to sonority that can be traced through all of Stravinsky’s later music, whatever its apparent stylistic allegiance. Stravinsky’s approach was empirical in that he was not prepared to accept established musical practice about development but instead preferred to subject his musical material to a personal system of tests. Working always at the piano, he experimented endlessly with different chord combinations and spacings, explored asymmetrical metrical patterns, and used devices of prolongation and elision to break down the tradition of symmetrical phrasing. Given such sonorities as basic sound objects, rhythm is then regarded as a cumulative process, an adding together of such objects into varied groups, as opposed to the varied subdivision of regular groups that forms the basic method of classical music. Not surprisingly, this procedure tended to work against the past musical styles that Stravinsky used as models in his Neoclassical works, which probably accounts for their intriguing rhythmic obliquity, just as his experimental attitude to chords produced curious distortions of classical harmony. Stravinsky worked in the same way, in fact, throughout his life, and the same basic principles of construction and dynamics inform Threni and the Requiem Canticles as Petrushka and The Rite of Spring. He had immense influence on the way later composers have felt pulse, rhythm, and form.
Like that of so many masters, Stravinsky’s fame rests on only a few works and one or two of his more important achievements. In The Rite of Spring he presented a new concept of music involving constantly changing rhythms and metric imbalances, a brilliantly original orchestration, and drastically dissonant harmonies that have resonated throughout the 20th century. Later Stravinsky was regarded as the typical rootless exile, a creative chameleon who could dart from style to style but who never recaptured the creative depth of his first masterpieces. Yet the more spectacular modernisms of The Rite of Spring belong to the evolution of Russian nationalist music from Modest Mussorgsky to Nikolay Rimsky-Korsakov, while that work’s feeling of “primitive dynamism” is a period feature that is found in much music of the early 20th century. Nor were the discordant harmonies of The Rite of Spring entirely new in 1913, though Stravinsky was the first to pursue Claude Debussy’s purely sensual approach to chords into a harmony that was not itself obviously beautiful.
The percussive violence and barbaric tone colours of The Rite of Spring did, however, conceal a new kind of rhythmic sensibility and an empirical attitude to sonority that can be traced through all of Stravinsky’s later music, whatever its apparent stylistic allegiance. Stravinsky’s approach was empirical in that he was not prepared to accept established musical practice about development but instead preferred to subject his musical material to a personal system of tests. Working always at the piano, he experimented endlessly with different chord combinations and spacings, explored asymmetrical metrical patterns, and used devices of prolongation and elision to break down the tradition of symmetrical phrasing. Given such sonorities as basic sound objects, rhythm is then regarded as a cumulative process, an adding together of such objects into varied groups, as opposed to the varied subdivision of regular groups that forms the basic method of classical music. Not surprisingly, this procedure tended to work against the past musical styles that Stravinsky used as models in his Neoclassical works, which probably accounts for their intriguing rhythmic obliquity, just as his experimental attitude to chords produced curious distortions of classical harmony. Stravinsky worked in the same way, in fact, throughout his life, and the same basic principles of construction and dynamics inform Threni and the Requiem Canticles as Petrushka and The Rite of Spring. He had immense influence on the way later composers have felt pulse, rhythm, and form.
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Hace 4 días · The opera with Stravinsky could have been the culmination of the poet’s work inasmuch as it brought together his love of sound, rhythm and music, the horror of the war, his fascination with language and the near-extinction of human life. Moreover, the artists were able to exchange a series of letters before Thomas’s death.
25 de jun. de 2024 · Stravinsky Fairy Tales with the dazzling ballet Firebird and poetic The Fairy's Kiss will run from 15-25 June 2024 at Dutch National Opera & Ballet, Amsterdam
Hace 4 días · 25/6/1910: estreia ‘O Pássaro de Fogo’, de Stravinsky. A peça dá vida e anima espírito ao tradicional folclore fantástico da literatura russa. O compositor russo Igor Stravinsky lançou em 1910, na Ópera de Paris, a obra de balé e concerto orquestral entitulada Firebird ( L’Oiseau de Feu ).
16 de jun. de 2024 · Associer Olivier Py au Rake’s Progress apparaît rétrospectivement comme une évidence, tant l’opéra de Stravinsky est plein de thèmes et de problématiques chers au nouveau directeur du Festival d’Avignon : le péché et la grâce, la pureté et la corruption, le sexe et la mort.
