By Maureen A. Carr
The insurrection that erupted in the course of the 1913 debut of Igor Stravinsky's The ceremony of Spring on the Théâtre des Champs-Élysées in Paris has lengthy been the most notorious and exciting occasions of contemporary musical background. The 3rd in a chain of works commissioned for Sergei Diaghalev's famed Ballets Russes, the piece mixed disjunct tonalities, provocative rhythms, and radical choreography that threw spectators and critics right into a literal fury. within the century following its most suitable, The ceremony of Spring has established its earth-shattering effect on tune and dance in addition to its immortalizing impact on Stravinsky and his occupation. Having won overseas awareness via the age of 30, what path might Stravinsky's direction ahead take after the momentus occasions of 1913?
After the ceremony: Stravinsky's route to Neoclassicism (1914-1925) strains the evolution of Stravinsky's compositional variety as he hunted for his personal voice within the explosive musical international of the early twentieth century as he spoke back to harsh criticisms of his paintings. through the publication, writer Maureen Carr offers new transcriptions and complex analyses of chosen musical sketches to teach the genesis of Stravinsky's musical principles as he forayed into surrealism, classicism, and abstraction to enhance his signature Neoclassical variety. Exploring those annotated compositional experiments--such because the earliest proof of Stravinsky's appropriation of the "rag idiom" and the improvement of his so-called "sound blocks"--After the ceremony offers new perception into how Stravinsky challenged and guided the musical advancements of the last decade after that mythical Paris most desirable. Enlightening visible metaphors, resembling the modern work of Paul Klee and people of the Russian futurists, complement dialogue of the musical sketches all through, supplying a complete inventive context for Carr's unparalleled and rigorous examination.
A treasure trove of remarkable fabric for students, musicians, scholars, and normal readers alike, After the ceremony bargains a much-needed delineation of the concept that of musical neoclassicism. Maureen Carr's leading edge and specific exam of the metamorphosis of Igor Stravinsky's compositional type after The ceremony of Spring is a useful contribution to the literature pertaining to this iconic twentieth century composer.
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Extra resources for After the Rite: Stravinsky's Path to Neoclassicism
1914). N. ] 32 Perloff, 157; for a more detailed commentary on the meaning of the text, see 156–57. 33 Perloff, 157. 6 (Left) Владимір Маяковскій. Трагедія в двух действіях с прологом и эпилогом. -Лит. Т/Д. И. Н. , 1914. [Vladimir Mayakovsky. The Tragedy in Two Acts with Prologue and Epilogue. N. ] (right) David Burliuk, Mayakovsky, pen and ink, 1930. With the kind permission of Mary Burliuk Holt, and reproduced with the permission of the British Library Board. All rights reserved. Bowlt writes as follows: “Futurism in Russian painting became concerned not only with the dislocation of the figurative surface, but also with the intrinsic qualities of painting, with its ‘painterliness’ and therefore concentrated on such factors as texture, colour, form, plane, line.
29 Perloff, The Futurist Moment, 156–57. 30 Perloff, 157. -Лит. /Д. И. Н. , 1914). N. ] 32 Perloff, 157; for a more detailed commentary on the meaning of the text, see 156–57. 33 Perloff, 157. 6 (Left) Владимір Маяковскій. Трагедія в двух действіях с прологом и эпилогом. -Лит. Т/Д. И. Н. , 1914. [Vladimir Mayakovsky. The Tragedy in Two Acts with Prologue and Epilogue. N. ] (right) David Burliuk, Mayakovsky, pen and ink, 1930. With the kind permission of Mary Burliuk Holt, and reproduced with the permission of the British Library Board.
76 Nevertheless, Pulcinella is one of the earliest examples of Stravinsky’s Neoclassicism. In his essay “Parody as Homage,” Richard Taruskin draws an interesting comparison between Stravinsky’s use of models by Pergolesi and others in Pulcinella and Bach’s parody of Pergolesi’s Stabat Mater in which Bach adapted: “Pergolesi’s airy texture to his denser idiom. 79 In comparing Stravinsky’s compositional process for Pulcinella with those used for his Symphonies of Wind Instruments and Concertino for String Quartet, I have found that the circumstances surrounding the creation of these three works are quite different, even though all three were completed in 1920.
After the Rite: Stravinsky's Path to Neoclassicism by Maureen A. Carr
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