The Music of Igor Stravinsky. Paris, May 1913 Stravinsky:The Rite of Spring Rite.

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Presentation transcript:

The Music of Igor Stravinsky

Paris, May 1913

Stravinsky:The Rite of Spring Rite

NOT!

Stravinsky:The Rite of Spring

Igor Stravinsky

I. Stravinsky’s Sound Worlds & Influences A. Ballet Music (Petrushka) B. Music of Classical Pd. (Symphony in C) C. Russian Folk Music (The Wedding) D. Russian Orthodox Music (Credo, 1932) E. Schoenberg’s Serialism (Elegy for J. F. K.) F. Jazz/Popular Music (Russian Scherzo)

II. Stravinsky I: Russian Period ( ) B. Musical Education w. Nicolai Rimsky-Korsakov Russian Folk Elements (Nationalism) Late Romantic Orchestration C. Serge Diaghilev and the Ballet Russé ( ) The Firebird/ All 3 based on Russian Folk Tales All 3 incorporate Russian Folk Melodies All 3 use large Romantic-Style Orchestra D. The Firebird 1910 Late Romanticism/Tonal Harmony Innovation: Passages use Octatonic Scale A. Stravinsky’s Dates Petrushka/The Rite of Spring

c dce f gabc c# d# f#g# a# Octatonic Scale: Alternates Whole Steps & ½ Steps

II. Russian Period ( ), cont. E. Petrushka (1911) Began as Piano Concerto, but piano used percussively Innovation: Frequent use of Polychords ( Petrushka chord ) F. The Rite of Spring (Le sacre du printemps, 1913 ) Exploration of New Rhythmic Possibilities

III. Stravinsky II: Neo-Classical Period ( ) A. Social & Political Context B. Pulcinella = Reworking of music by G. B. Pergolesi (early classical) C. Musical Characteristics of Neo-Classicism Traditional Forms Steady Pulse (often with repetitive rhythmic cells) Smaller performing forces Clear textures w. little doubling Revived interest in imitation & counterpoint Dissonance Wind instruments favored over strings Strident or percussive sonorities Modernism Classicism Russian elements recede/Smaller Performing Forces

D. Important Neo-Classical Compositions Symphonies of Wind Instruments L’historie du soldat (A Soldier’s Tale) Symphony of Psalms

A. W.W. II = immigration to U. S. B. Robert Craft & Influence of Schoenberg’s Serialism. IV. Stravinsky (III): Serial Period ( )

IV. The Rite of Spring A. Wright’s Rite percussive orchestra irregular accents osinato figures polymeters, polychords, polyrhythms B. The Critic’s Rite rhythmically complex: either incomprehensible; or complex for the sake of complexity

4. Regular beats, but irregular (or mixed) meter 6. Rhythmic cells in irregular/asymmetrical patterns C. Stravinsky’s Rite 1. Beats divided irregularly 3. Patterns presented both “horizontally” and “vertically” 2. Many rhythmically complex layers 5. Polychords (two different “normal” chords sound together) q q ee q

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