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 some of the most notorious and interesting occasions of contemporary musical heritage. 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 excellent, The ceremony of Spring has confirmed its earth-shattering effect on tune and dance in addition to its immortalizing impression on Stravinsky and his profession. Having won overseas awareness by way of the age of 30, what path may perhaps Stravinsky's course 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 kind as he hunted for his personal voice within the explosive musical international of the early twentieth century as he replied to harsh criticisms of his paintings. in the course of the e-book, writer Maureen Carr offers new transcriptions and complicated analyses of chosen musical sketches to teach the genesis of Stravinsky's musical principles as he forayed into surrealism, classicism, and abstraction to increase his signature Neoclassical sort. Exploring those annotated compositional experiments--such because the earliest facts of Stravinsky's appropriation of the "rag idiom" and the advance of his so-called "sound blocks"--After the ceremony presents new perception into how Stravinsky challenged and guided the musical advancements of the last decade after that mythical Paris most popular. Enlightening visible metaphors, reminiscent of the modern work of Paul Klee and people of the Russian futurists, complement dialogue of the musical sketches all through, delivering a finished inventive context for Carr's exceptional and rigorous examination.
A treasure trove of exceptional fabric for students, musicians, scholars, and common readers alike, After the ceremony bargains a much-needed delineation of the idea that of musical neoclassicism. Maureen Carr's leading edge and specific exam of the metamorphosis of Igor Stravinsky's compositional variety 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
Pracusa 2013037. Robert Delaunay In his painting The City of Paris (ca. ”24 24 Christopher Green, Art in France 1900–1940 (New Haven: Yale University Press, 2000), 141. 7, where Green states: “Cubist faceting imposed interpenetrative movement upon often static subjects; multiple perspective did the same by suggesting the movement of the artist around a subject. ’ ” Green, 147, 297n25. 4 Sonia Delaunay, Prismes électriques “Huile sur toile,” 1914, detail. ) © Pracusa 2013037. 5 Robert Delaunay (French, 1885–1941), La ville de Paris (The City of Paris), ca.
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.
Olson (Lincoln and London: University of Nebraska Press, 1965), xiv, n9. “Nowadays the old art has already died, the new has not yet been born; and things have died—we have lost our awareness of the world; we are like a violinist who has ceased to feel the bow and the strings, we have ceased to be artists in everyday life, we do not love our houses and clothes, and easily part from a life of which we are not aware. ” Viktor Shklovsky, “The Resurrection of the Word” (1914), Russian Formalism: A Collection of Articles and Texts in Translation, ed.
After the Rite: Stravinsky's Path to Neoclassicism by Maureen A. Carr