"Stravinsky, Igor." Europe 1789 to 1914: Encyclopedia of the Age of Industry and Empire, editors-in-chief John Merriman and Jay Winter, 4:2261–63.
His father, Fyodor Ignatievich Stravinsky (1843–1902), was an established bass opera singer in the Kyiv Opera and the Mariinsky Theatre in Saint Petersburg and his mother, Anna Kirillovna Stravinskaya (née Kholodovskaya; 1854–1939), a native of Kyiv, was one of four daughters of a high-ranking official in the Kyiv Ministry of Estates.
His compositions of this period shared traits with examples of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a few two- or three-note cells, and clarity of form and instrumentation. ==Biography== ===Early life, 1882–1901=== Stravinsky was born on 17 June 1882 in the town of Oranienbaum on the southern coast of the Gulf of Finland, 25 miles west of Saint Petersburg.
The original family surname was Sulima-Strawiński; the name "Stravinsky" originated from the word "Strava", one of the variants of the Streva River in Lithuania. On 10 August 1882, Stravinsky was baptised at Nikolsky Cathedral in Saint Petersburg.
1 and finished a piano reduction of a string quartet by Alexander Glazunov, who reportedly considered Stravinsky unmusical and thought little of his skills. ===Pupil of Rimsky-Korsakov and first compositions, 1901–1909=== Despite Stravinsky's enthusiasm and ability in music, his parents expected him to study law, and he at first took to the subject.
In 1901, he enrolled at the University of Saint Petersburg, studying criminal law and legal philosophy, but attendance at lectures was optional and he estimated that he turned up to fewer than fifty classes in his four years of study.
In 1902, Stravinsky met Vladimir, a fellow student at the University of Saint Petersburg and the youngest son of Nikolai Rimsky-Korsakov.
He spent the summer of 1902 with Rimsky-Korsakov and his family in Heidelberg, Germany.
By the time of his father's death from cancer in 1902, Stravinsky was spending more time studying music than law.
His decision to pursue music full time was helped when the university was closed for two months in 1905 in the aftermath of Bloody Sunday, which prevented him from taking his final law exams.
In 1905, he began studying with Rimsky-Korsakov twice a week and came to regard him as a second father.
5 which was performed once and then considered lost until its re-discovery in 2015. In August 1905, Stravinsky became engaged to his first cousin, Katherine Gavrylivna Nosenko.
1907–1919)=== Aside from a very few surviving earlier works, Stravinsky's Russian period, sometimes called primitive period, began with compositions undertaken under the tutelage of Nikolai Rimsky-Korsakov, with whom he studied from 1905 until Rimsky's death in 1908, including the orchestral works Symphony in E major (1907), Faun and Shepherdess (for mezzo-soprano and orchestra; 1907), Scherzo fantastique (1908), and Feu d'artifice (1908/9).
In April 1906, Stravinsky received a half-course diploma and concentrated on music thereafter.
In spite of the Orthodox Church's opposition to marriage between first cousins, the couple married on 23 January 1906.
Stravinsky and Nosenko's first two children, Fyodor (Theodore) and Ludmila, were born in 1907 and 1908, respectively. ===Ballets for Diaghilev and international fame, 1909–1920=== By 1909, Stravinsky had composed two more pieces, Scherzo fantastique, Op.
1907–1919)=== Aside from a very few surviving earlier works, Stravinsky's Russian period, sometimes called primitive period, began with compositions undertaken under the tutelage of Nikolai Rimsky-Korsakov, with whom he studied from 1905 until Rimsky's death in 1908, including the orchestral works Symphony in E major (1907), Faun and Shepherdess (for mezzo-soprano and orchestra; 1907), Scherzo fantastique (1908), and Feu d'artifice (1908/9).
These lessons continued until Rimsky-Korsakov's death in 1908.
Stravinsky and Nosenko's first two children, Fyodor (Theodore) and Ludmila, were born in 1907 and 1908, respectively. ===Ballets for Diaghilev and international fame, 1909–1920=== By 1909, Stravinsky had composed two more pieces, Scherzo fantastique, Op.
For the rest of the summer he focused on his first opera, The Nightingale (Le Rossignol), based on the same-titled story by Hans Christian Andersen, which he had started in 1908.
1907–1919)=== Aside from a very few surviving earlier works, Stravinsky's Russian period, sometimes called primitive period, began with compositions undertaken under the tutelage of Nikolai Rimsky-Korsakov, with whom he studied from 1905 until Rimsky's death in 1908, including the orchestral works Symphony in E major (1907), Faun and Shepherdess (for mezzo-soprano and orchestra; 1907), Scherzo fantastique (1908), and Feu d'artifice (1908/9).
These works clearly reveal the influence of Rimsky-Korsakov, but as Richard Taruskin has shown, they also reveal Stravinsky's knowledge of music by Glazunov, Taneyev, Tchaikovsky, Wagner, Dvořák, and Debussy, among others. In 1908, Stravinsky composed Funeral Song (Погребальная песня), Op.
Stravinsky and Nosenko's first two children, Fyodor (Theodore) and Ludmila, were born in 1907 and 1908, respectively. ===Ballets for Diaghilev and international fame, 1909–1920=== By 1909, Stravinsky had composed two more pieces, Scherzo fantastique, Op.
The piece premiered 17 January 1909 in the Grand Hall of the Saint Petersburg Conservatory but was then lost until September 2015, when it resurfaced in a back room of the city's Conservatoire.
Petersburg of Scherzo fantastique and Feu d'artifice attracted the attention of Serge Diaghilev, who commissioned Stravinsky to orchestrate two piano works of Chopin for the ballet Les Sylphides to be presented in the 1909 debut "Saison Russe" of his new ballet company. The Firebird was first performed at the Paris Opéra on 25 June 1910 by Diaghilev's Ballets Russes.
He wished to stage a mix of Russian opera and ballet for the 1910 season in Paris, among them a new ballet from fresh talent that was based on the Russian fairytale of the Firebird.
At 50 minutes in length, The Firebird was revised by Stravinsky for concert performance in 1911, 1919, and 1945. The Firebird premiered at the Opera de Paris on 25 June 1910 to widespread critical acclaim and Stravinsky became an overnight sensation.
The war and subsequent Russian Revolution in 1917 made it impossible for Stravinsky to return to his homeland. Stravinsky began to struggle financially in the late 1910s as Russia (and its successor, the USSR) did not adhere to the Berne Convention, thus creating problems for Stravinsky to collect royalties for the performances of his pieces for the Ballets Russes.
Petersburg of Scherzo fantastique and Feu d'artifice attracted the attention of Serge Diaghilev, who commissioned Stravinsky to orchestrate two piano works of Chopin for the ballet Les Sylphides to be presented in the 1909 debut "Saison Russe" of his new ballet company. The Firebird was first performed at the Paris Opéra on 25 June 1910 by Diaghilev's Ballets Russes.
Satie had met Stravinsky for the first time in 1910.
Earlier writers, such as Copland, Elliott Carter, and Boris de Schloezer held somewhat unfavorable views of Stravinsky's works, and Virgil Thomson, writing in Modern Music (a quarterly review published between 1925 and 1946), could find only a common "'seriousness' of 'tone' or of 'purpose', 'the exact correlation between the goal and the means', or a dry 'ant-like neatness'". == Honours == In 1910, Florent Schmitt dedicated the revised version of his ballet La tragédie de Salomé, Op.
At 50 minutes in length, The Firebird was revised by Stravinsky for concert performance in 1911, 1919, and 1945. The Firebird premiered at the Opera de Paris on 25 June 1910 to widespread critical acclaim and Stravinsky became an overnight sensation.
Diaghilev commissioned Stravinsky to score a second ballet for the 1911 Paris season.
Though it failed to capture the immediate reception that The Firebird had following its premiere at Théâtre du Châtelet in June 1911, the production continued Stravinsky's success. It was Stravinsky's third ballet for Diaghilev, The Rite of Spring, that caused a sensation among critics, fellow composers, and concertgoers.
The radical nature of the music and choreography caused a near-riot at its premiere at the Théâtre des Champs-Élysées on 29 May 1913.
He left in July 1913 and returned to Ustilug.
I can say, however, that for some years before my actual "conversion", a mood of acceptance had been cultivated in me by a reading of the Gospels and by other religious literature. ==Reception== If Stravinsky's stated intention was "to send them all to hell", then he may have regarded the 1913 premiere of The Rite of Spring as a success: it resulted in one of history's most famous classical music riots, and Stravinsky referred to it on several occasions in his autobiography as a scandale.
Until 1914, he spent most of his summers in the town of Ustilug, now in Ukraine, where his father-in-law owned an estate.
The family would spend their summers in Russia and winters in Switzerland until 1914.
On 15 January 1914, Stravinsky and Nosenko had their fourth child, Marie Milène (or Maria Milena).
The work premiered in Paris in May 1914, after the Moscow Free Theatre had commissioned the piece for 10,000 rubles but soon became bankrupt.
However, composers including Ravel, Bartók, and Reynaldo Hahn found much to admire in the score's craftsmanship, even alleging to detect the influence of Arnold Schoenberg. In April 1914, Stravinsky and his family returned to Clarens.
In September 1962, Stravinsky returned to Russia for the first time since 1914, accepting an invitation from the Union of Soviet Composers to conduct six performances in Moscow and Leningrad.
"Stravinsky, Igor." Europe 1789 to 1914: Encyclopedia of the Age of Industry and Empire, editors-in-chief John Merriman and Jay Winter, 4:2261–63.
In June 1915, he and his family moved from Clarens to Morges, a town six miles from Lausanne on the shore of Lake Geneva.
In December 1915, Stravinsky made his conducting debut at two concerts in aid of the Red Cross with The Firebird.
The war and subsequent Russian Revolution in 1917 made it impossible for Stravinsky to return to his homeland. Stravinsky began to struggle financially in the late 1910s as Russia (and its successor, the USSR) did not adhere to the Berne Convention, thus creating problems for Stravinsky to collect royalties for the performances of his pieces for the Ballets Russes.
His interest in art propelled him to develop a strong relationship with Picasso, whom he met in 1917, announcing that in "a whirlpool of artistic enthusiasm and excitement I at last met Picasso." From 1917 to 1920, the two engaged in an artistic dialogue in which they exchanged small-scale works of art to each other as a sign of intimacy, which included the famous portrait of Stravinsky by Picasso, and Stravinsky's "Sketch of Music for the Clarinet".
While composing his theatrical piece L'Histoire du soldat (The Soldier's Tale), Stravinsky approached Swiss philanthropist Werner Reinhart for financial assistance, who agreed to sponsor him and largely underwrite its first performance which took place in Lausanne in September 1918.
That was exactly what Cocteau did when he commented deprecatingly on Stravinsky in his 1918 book, Le Coq et l'Arlequin. According to The Musical Times in 1923: All the signs indicate a strong reaction against the nightmare of noise and eccentricity that was one of the legacies of the war....
At 50 minutes in length, The Firebird was revised by Stravinsky for concert performance in 1911, 1919, and 1945. The Firebird premiered at the Opera de Paris on 25 June 1910 to widespread critical acclaim and Stravinsky became an overnight sensation.
Reinhart supported Stravinsky further when he funded a series of concerts of his chamber music in 1919.
His "Russian phase", which continued with works such as Renard, L'Histoire du soldat, and Les noces, was followed in the 1920s by a period in which he turned to neoclassicism.
The family lived there (at three different addresses), until 1920.
In gratitude to his benefactor, Stravinsky also dedicated his Three Pieces for Clarinet to Reinhart, who was also an amateur clarinetist. Following the premiere of Pulcinella by the Ballets Russes in Paris on 15 May 1920, Stravinsky returned to Switzerland. ===Life in France, 1920–1939=== In June 1920, Stravinsky and his family left Switzerland for France, first settling in Carantec, Brittany for the summer while they sought a permanent home in Paris.
Chanel helped secure a guarantee for a revival production of The Rite of Spring by the Ballets Russes from December 1920 with an anonymous gift to Diaghilev that was claimed to be worth 300,000 francs. In 1920, Stravinsky signed a contract with the French piano manufacturing company Pleyel.
During the 1920s, Stravinsky recorded Duo-Art piano rolls for the Aeolian Company in London and New York City, not all of which have survived. Stravinsky met Vera de Bosset in Paris in February 1921, while she was married to the painter and stage designer Serge Sudeikin, and they began an affair that led to de Bosset leaving her husband. In May 1921, Stravinsky and his family moved to Anglet, a town close to the Spanish border.
Not only was he the principal composer for Diaghilev's Ballets Russes, but he also collaborated with Pablo Picasso (Pulcinella, 1920), Jean Cocteau (Oedipus Rex, 1927), and Balanchine (Apollon musagète, 1928).
His interest in art propelled him to develop a strong relationship with Picasso, whom he met in 1917, announcing that in "a whirlpool of artistic enthusiasm and excitement I at last met Picasso." From 1917 to 1920, the two engaged in an artistic dialogue in which they exchanged small-scale works of art to each other as a sign of intimacy, which included the famous portrait of Stravinsky by Picasso, and Stravinsky's "Sketch of Music for the Clarinet".
In 1921, he was given studio space at their Paris headquarters where he worked and entertained friends and acquaintances.
During the 1920s, Stravinsky recorded Duo-Art piano rolls for the Aeolian Company in London and New York City, not all of which have survived. Stravinsky met Vera de Bosset in Paris in February 1921, while she was married to the painter and stage designer Serge Sudeikin, and they began an affair that led to de Bosset leaving her husband. In May 1921, Stravinsky and his family moved to Anglet, a town close to the Spanish border.
Myers, London: Egoist Press, 1921. Cohen, Allen.
He compared Stravinsky's choice of "the drabbest and least significant phrases" to Gertrude Stein's 'Everyday they were gay there, they were regularly gay there everyday' ("Helen Furr and Georgine Skeene", 1922), "whose effect would be equally appreciated by someone with no knowledge of English whatsoever". In his 1949 book Philosophy of Modern Music, Theodor W.
Katya reportedly bore her husband's infidelity "with a mixture of magnanimity, bitterness, and compassion". In June 1923, Stravinsky's ballet Les noces (The Wedding) premiered in Paris and performed by the Ballets Russes.
In 1923, Erik Satie wrote an article about Igor Stravinsky in Vanity Fair.
That was exactly what Cocteau did when he commented deprecatingly on Stravinsky in his 1918 book, Le Coq et l'Arlequin. According to The Musical Times in 1923: All the signs indicate a strong reaction against the nightmare of noise and eccentricity that was one of the legacies of the war....
Despite some payments not being sent, Robert Craft believed that the patron was famed conductor Leopold Stokowski, whom Stravinsky had recently met, and theorised that the conductor wanted to win Stravinsky over to visit the US. In September 1924, Stravinsky bought a new home in Nice.
Stravinsky agreed, and the Concerto for Piano and Wind Instruments was first performed in May 1924.
Following a European tour through the latter half of 1924, Stravinsky completed his first US tour in early 1925 which spanned two months. In May 1927, Stravinsky's opera-oratorio Oedipus Rex premiered in Paris.
After befriending a Russian Orthodox priest, Father Nicholas, after his move to Nice in 1924, he reconnected with his faith.
Following a European tour through the latter half of 1924, Stravinsky completed his first US tour in early 1925 which spanned two months. In May 1927, Stravinsky's opera-oratorio Oedipus Rex premiered in Paris.
Earlier writers, such as Copland, Elliott Carter, and Boris de Schloezer held somewhat unfavorable views of Stravinsky's works, and Virgil Thomson, writing in Modern Music (a quarterly review published between 1925 and 1946), could find only a common "'seriousness' of 'tone' or of 'purpose', 'the exact correlation between the goal and the means', or a dry 'ant-like neatness'". == Honours == In 1910, Florent Schmitt dedicated the revised version of his ballet La tragédie de Salomé, Op.
Following a European tour through the latter half of 1924, Stravinsky completed his first US tour in early 1925 which spanned two months. In May 1927, Stravinsky's opera-oratorio Oedipus Rex premiered in Paris.
In the summer of 1927 Stravinsky received a commission from Elizabeth Sprague Coolidge, his first from the US.
Not only was he the principal composer for Diaghilev's Ballets Russes, but he also collaborated with Pablo Picasso (Pulcinella, 1920), Jean Cocteau (Oedipus Rex, 1927), and Balanchine (Apollon musagète, 1928).
Stravinsky accepted and wrote Apollo, which premiered in 1928. From 1931 to 1933, the Stravinskys lived in Voreppe, a commune near Grenoble in southeastern France.
Not only was he the principal composer for Diaghilev's Ballets Russes, but he also collaborated with Pablo Picasso (Pulcinella, 1920), Jean Cocteau (Oedipus Rex, 1927), and Balanchine (Apollon musagète, 1928).
As a conductor of his own music, he recorded primarily for Columbia Records, beginning in 1928 with a performance of the original suite from The Firebird and concluding in 1967 with the 1945 suite from the same ballet.
In 1930, he remarked, "I don't believe that anyone venerates Mussolini more than I ...
Stravinsky accepted and wrote Apollo, which premiered in 1928. From 1931 to 1933, the Stravinskys lived in Voreppe, a commune near Grenoble in southeastern France.
Stravinsky accepted and wrote Apollo, which premiered in 1928. From 1931 to 1933, the Stravinskys lived in Voreppe, a commune near Grenoble in southeastern France.
Performances of his music were banned from around 1933 until 1962, the year Khrushchev invited him to the USSR for an official state visit.
Igor Fyodorovich Stravinsky (; Игорь Фёдорович Стравинский||ˈiɡərʲ ˈfʲɵdərəvʲɪtɕ strɐˈvʲinskʲɪj|Ru-Igor-Feodorovich-Stravinsky.ogg; 6 April 1971) was a Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizenship.
In June 1934, the couple acquired French citizenship.
The composer used his citizenship to publish his memoirs in French, entitled Chroniques de ma Vie in 1935, and underwent a US tour with Samuel Dushkin.
What (for example) has become of the works that made up the program of the Stravinsky concert which created such a stir a few years ago? Practically the whole lot are already on the shelf, and they will remain there until a few jaded neurotics once more feel a desire to eat ashes and fill their belly with the east wind. In 1935, the American composer Marc Blitzstein compared Stravinsky to Jacopo Peri and C.P.E.
The pair completed a tour of Europe and South America in 1936.
In his 1936 autobiography, Chronicle of My Life, which was written with the help of Walter Nouvel, Stravinsky included his well-known statement that "music is, by its very nature, essentially powerless to express anything at all." With Alexis Roland-Manuel and Pierre Souvtchinsky, he wrote his 1939–40 Harvard University Charles Eliot Norton Lectures, which were delivered in French and first collected under the title Poétique musicale in 1942 and then translated in 1947 as Poetics of Music.
Stravinsky made his American debut as conductor in April 1937 in New York City, directing his three-part ballet Jeu de cartes, itself a commission for Lincoln Kirstein's ballet company with choreography by George Balanchine.
Ludmila died in late 1938, followed by his wife of 33 years, in March 1939.
From then until his wife's death in 1939, Stravinsky led a double life, dividing his time between his family in Anglet, and Vera in Paris and on tour.
Ludmila died in late 1938, followed by his wife of 33 years, in March 1939.
On 29 March, he moved into a newly furbished apartment at 920 Fifth Avenue, his first city apartment since living in Paris in 1939.
In his 1936 autobiography, Chronicle of My Life, which was written with the help of Walter Nouvel, Stravinsky included his well-known statement that "music is, by its very nature, essentially powerless to express anything at all." With Alexis Roland-Manuel and Pierre Souvtchinsky, he wrote his 1939–40 Harvard University Charles Eliot Norton Lectures, which were delivered in French and first collected under the title Poétique musicale in 1942 and then translated in 1947 as Poetics of Music.
Vera arrived in January 1940 and the couple married on 9 March in Bedford, Massachusetts.
They shared the composer's taste for hard spirits – especially Aldous Huxley, with whom Stravinsky spoke in French." Stravinsky and Huxley had a tradition of Saturday lunches for west coast avant-garde and luminaries. In 1940, Stravinsky completed his Symphony in C and conducted the Chicago Symphony Orchestra at its premiere later that year.
Included among his students in the 1940s was the American composer and music educator Robert Strassburg.
When the Nazis placed Stravinsky's works on the list of "Entartete Musik", he lodged a formal appeal to establish his Russian genealogy and declared, "I loathe all communism, Marxism, the execrable Soviet monster, and also all liberalism, democratism, atheism, etc." Upon relocating to America in the 1940s, Stravinsky again embraced the liberalism of his youth, remarking that Europeans "can have their generalissimos and Führers.
In the late 1940s he made several recordings for RCA Victor at the Republic Studios in Los Angeles.
After a period of travel, the two moved into a home in Beverly Hills, California before they settled in Hollywood from 1941.
"Stravinsky's Four Star-Spangled Banners and His 1941 Christmas Card".
In his 1936 autobiography, Chronicle of My Life, which was written with the help of Walter Nouvel, Stravinsky included his well-known statement that "music is, by its very nature, essentially powerless to express anything at all." With Alexis Roland-Manuel and Pierre Souvtchinsky, he wrote his 1939–40 Harvard University Charles Eliot Norton Lectures, which were delivered in French and first collected under the title Poétique musicale in 1942 and then translated in 1947 as Poetics of Music.
Music he had written for the film was later used in his Symphony in Three Movements. Stravinsky's unconventional dominant seventh chord in his arrangement of the "Star-Spangled Banner" led to an incident with the Boston police on 15 January 1944, and he was warned that the authorities could impose a $100 fine upon any "re-arrangement of the national anthem in whole or in part".
Igor Fyodorovich Stravinsky (; Игорь Фёдорович Стравинский||ˈiɡərʲ ˈfʲɵdərəvʲɪtɕ strɐˈvʲinskʲɪj|Ru-Igor-Feodorovich-Stravinsky.ogg; 6 April 1971) was a Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizenship.
At 50 minutes in length, The Firebird was revised by Stravinsky for concert performance in 1911, 1919, and 1945. The Firebird premiered at the Opera de Paris on 25 June 1910 to widespread critical acclaim and Stravinsky became an overnight sensation.
In the early 1960s his students included Craft and Warren Zevon. On 28 December 1945, Stravinsky and his wife Vera became naturalized US citizens.
The five-year contract was finalised and signed in January 1947 which included a guarantee of $10,000 per for the first two years, then $12,000 for the remaining three. In late 1945, Stravinsky received a commission from Europe, his first since Perséphone, in the form of a string piece for the 20th anniversary for Paul Sacher's Basle Chamber Orchestra.
As a conductor of his own music, he recorded primarily for Columbia Records, beginning in 1928 with a performance of the original suite from The Firebird and concluding in 1967 with the 1945 suite from the same ballet.
In January 1946, Stravinsky conducted the premiere of his Symphony in Three Movements at Carnegie Hall in New York City.
He never referred to it himself, but Chanel spoke about the alleged affair at length to her biographer Paul Morand in 1946; the conversation was published thirty years later.
Earlier writers, such as Copland, Elliott Carter, and Boris de Schloezer held somewhat unfavorable views of Stravinsky's works, and Virgil Thomson, writing in Modern Music (a quarterly review published between 1925 and 1946), could find only a common "'seriousness' of 'tone' or of 'purpose', 'the exact correlation between the goal and the means', or a dry 'ant-like neatness'". == Honours == In 1910, Florent Schmitt dedicated the revised version of his ballet La tragédie de Salomé, Op.
The five-year contract was finalised and signed in January 1947 which included a guarantee of $10,000 per for the first two years, then $12,000 for the remaining three. In late 1945, Stravinsky received a commission from Europe, his first since Perséphone, in the form of a string piece for the 20th anniversary for Paul Sacher's Basle Chamber Orchestra.
The Concerto in D premiered in 1947.
In 1947, Stravinsky was inspired to write his English-language opera The Rake's Progress by a visit to a Chicago exhibition of the same-titled series of paintings by the eighteenth-century British artist William Hogarth, which tells the story of a fashionable wastrel descending into ruin.
In his 1936 autobiography, Chronicle of My Life, which was written with the help of Walter Nouvel, Stravinsky included his well-known statement that "music is, by its very nature, essentially powerless to express anything at all." With Alexis Roland-Manuel and Pierre Souvtchinsky, he wrote his 1939–40 Harvard University Charles Eliot Norton Lectures, which were delivered in French and first collected under the title Poétique musicale in 1942 and then translated in 1947 as Poetics of Music.
A full catalogue and details of access arrangements are available here. === Recordings and videos === An audio recording made by William Malloch of Stravinsky rehearsing his Symphonies of Wind Instruments in Memory of Debussy (a 1947 recording, first broadcast in 1961) An archive recording of a radio program by William Malloch that includes a discussion of how attitudes toward Stravinsky’s music changed through the years.
He compared Stravinsky's choice of "the drabbest and least significant phrases" to Gertrude Stein's 'Everyday they were gay there, they were regularly gay there everyday' ("Helen Furr and Georgine Skeene", 1922), "whose effect would be equally appreciated by someone with no knowledge of English whatsoever". In his 1949 book Philosophy of Modern Music, Theodor W.
In the 1950s, Stravinsky adopted serial procedures.
It was staged by the Santa Fe Opera in a 1962 Stravinsky Festival in honor of the composer's 80th birthday and was revived by the Metropolitan Opera in 1997. ===Serial period (1954–1968)=== In the 1950s, Stravinsky began using serial compositional techniques such as dodecaphony, the twelve-tone technique originally devised by Schoenberg.
The opera premiered in 1951 and marks the final work of Stravinsky's neoclassical period.
Important works in this period include the Octet (1923), the Concerto for Piano and Wind Instruments (1924), the Serenade in A (1925), and Symphony of Psalms (1930). In 1951, he completed his last neoclassical work, the opera The Rake's Progress to a libretto by Auden and Kallman based on the etchings of Hogarth.
This began Stravinsky's third and final distinct musical period which lasted until his death. In 1953, Stravinsky agreed to compose a new opera with a libretto by Dylan Thomas, which detailed the recreation of the world after one man and one woman remained on Earth after a nuclear disaster.
It premiered in Venice that year and was produced around Europe the following year before being staged in the New York Metropolitan Opera in 1953.
Stravinsky completed In Memorian Dylan Thomas, a piece for tenor and string quartet, in 1954. In January 1962, during his tour's stop in Washington, D.C., Stravinsky attended a dinner at the White House with President John F.
In 1959, he was awarded the Sonning Award, Denmark's highest musical honour.
In 1959, several interviews between the composer and Robert Craft were published as Conversations with Igor Stravinsky, which was followed by a further five volumes over the following decade.
In the early 1960s his students included Craft and Warren Zevon. On 28 December 1945, Stravinsky and his wife Vera became naturalized US citizens.
A full catalogue and details of access arrangements are available here. === Recordings and videos === An audio recording made by William Malloch of Stravinsky rehearsing his Symphonies of Wind Instruments in Memory of Debussy (a 1947 recording, first broadcast in 1961) An archive recording of a radio program by William Malloch that includes a discussion of how attitudes toward Stravinsky’s music changed through the years.
Stravinsky completed In Memorian Dylan Thomas, a piece for tenor and string quartet, in 1954. In January 1962, during his tour's stop in Washington, D.C., Stravinsky attended a dinner at the White House with President John F.
In September 1962, Stravinsky returned to Russia for the first time since 1914, accepting an invitation from the Union of Soviet Composers to conduct six performances in Moscow and Leningrad.
Stravinsky did not return to his Hollywood home until December 1962 in what was almost eight months of continual travelling.
It was staged by the Santa Fe Opera in a 1962 Stravinsky Festival in honor of the composer's 80th birthday and was revived by the Metropolitan Opera in 1997. ===Serial period (1954–1968)=== In the 1950s, Stravinsky began using serial compositional techniques such as dodecaphony, the twelve-tone technique originally devised by Schoenberg.
Performances of his music were banned from around 1933 until 1962, the year Khrushchev invited him to the USSR for an official state visit.
Although most of his recordings were made with studio musicians, he also worked with the Chicago Symphony Orchestra, the Cleveland Orchestra, the CBC Symphony Orchestra, the New York Philharmonic Orchestra, the Royal Philharmonic Orchestra and the Bavarian Broadcasting Symphony Orchestra. During his lifetime, Stravinsky appeared on several telecasts, including the 1962 world premiere of The Flood on CBS Television.
Following the assassination of Kennedy in 1963, Stravinsky completed his Elegy for J.F.K.
The two-minute work took the composer two days to write. By early 1964, the long periods of travel had started to affect Stravinsky's health.
In 1965, Stravinsky agreed to have David Oppenheim produce a documentary film about himself for the CBS network.
Second edition, New York: Coleman-Ross, 1965, reprinted Washington Paperbacks WP-52, Seattle: University of Washington Press, 1969, reprinted again Seattle: University of Washington Press, 1974 , and New York: Norton, 2000 (pbk). Stravinsky, Igor.
In 1966, Stravinsky completed his last major work, the Requiem Canticles. ====1967–1971==== In February 1967, Stravinsky and Craft directed their own concert in Miami, Florida, the composer's first in that state.
In 1966, Stravinsky completed his last major work, the Requiem Canticles. ====1967–1971==== In February 1967, Stravinsky and Craft directed their own concert in Miami, Florida, the composer's first in that state.
An exception to this was a concert at Massey Hall in Toronto, Canada in May 1967, where he conducted the relatively physically undemanding Pulcinella suite with the Toronto Symphony Orchestra.
In August 1967, Stravinsky was hospitalised in Hollywood for bleeding stomach ulcers and thrombosis which required a blood transfusion.
As a conductor of his own music, he recorded primarily for Columbia Records, beginning in 1928 with a performance of the original suite from The Firebird and concluding in 1967 with the 1945 suite from the same ballet.
In his diary, Craft wrote that he spoon-fed the ailing composer and held his hand: "He says the warmth diminishes the pain." By 1968, Stravinsky had recovered enough to resume touring across the US with him in the audience while Craft took to the conductor's post for the majority of the concerts.
In May 1968, Stravinsky completed the piano arrangement of two songs by Austrian composer Hugo Wolf for a small orchestra.
The three considered relocating to Switzerland as they had become increasingly less fond of Hollywood, but they decided against it and returned to the US. In October 1969, after close to three decades in California and being denied to travel overseas by his doctors due to ill health, Stravinsky and Vera secured a two-year lease for a luxury three bedroom apartment in Essex House in New York City.
Second edition, New York: Coleman-Ross, 1965, reprinted Washington Paperbacks WP-52, Seattle: University of Washington Press, 1969, reprinted again Seattle: University of Washington Press, 1974 , and New York: Norton, 2000 (pbk). Stravinsky, Igor.
He was hospitalised in April 1970 following a bout of pneumonia, which he successfully recovered from.
Igor Fyodorovich Stravinsky (; Игорь Фёдорович Стравинский||ˈiɡərʲ ˈfʲɵdərəvʲɪtɕ strɐˈvʲinskʲɪj|Ru-Igor-Feodorovich-Stravinsky.ogg; 6 April 1971) was a Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizenship.
Two months later, he travelled to Évian-les-Bains by Lake Geneva where he reunited with his eldest son Theodore and niece Xenia. On 18 March 1971, Stravinsky was taken to Lenox Hill Hospital with pulmonary edema where he stayed for ten days.
Annotated Catalog of Works and Work Editions of Igor Strawinsky till 1971 – Verzeichnis der Werke und Werkausgaben Igor Strawinskys bis 1971, Leipzig: Publications of the Saxon Academy of Sciences in Leipzig.
In 1972, an official proclamation by the Soviet Minister of Culture, Yekaterina Furtseva, ordered Soviet musicians to "study and admire" Stravinsky's music and she made hostility toward it a potential offence. While Stravinsky's music has been criticized for its range of styles, scholars had "gradually begun to perceive unifying elements in Stravinsky's music" by the 1980s.
Second edition, New York: Coleman-Ross, 1965, reprinted Washington Paperbacks WP-52, Seattle: University of Washington Press, 1969, reprinted again Seattle: University of Washington Press, 1974 , and New York: Norton, 2000 (pbk). Stravinsky, Igor.
Reprinted 1979, with a preface by Georges Auric.
In 1972, an official proclamation by the Soviet Minister of Culture, Yekaterina Furtseva, ordered Soviet musicians to "study and admire" Stravinsky's music and she made hostility toward it a potential offence. While Stravinsky's music has been criticized for its range of styles, scholars had "gradually begun to perceive unifying elements in Stravinsky's music" by the 1980s.
As per his wishes, he was buried in the Russian corner of the cemetery island of San Michele in Venice, Italy, several yards from the tomb of Sergei Diaghilev, having been brought there by gondola after a service at Santi Giovanni e Paolo led by Cherubin Malissianos, Archimandrite of the Greek Orthodox Church. He has a star on the Hollywood Walk of Fame, and in 1987 he was posthumously awarded the Grammy Award for Lifetime Achievement.
Editions Champion, Musichamp l’essentiel 5, Paris 1991 (with catalogue raisonné and calendar). Hazlewood, Charles.
It was staged by the Santa Fe Opera in a 1962 Stravinsky Festival in honor of the composer's 80th birthday and was revived by the Metropolitan Opera in 1997. ===Serial period (1954–1968)=== In the 1950s, Stravinsky began using serial compositional techniques such as dodecaphony, the twelve-tone technique originally devised by Schoenberg.
The real extent of the tumult is open to debate and the reports may be apocryphal. In 1998, Time magazine named Stravinsky as one of the 100 most influential people of the century.
Second edition, New York: Coleman-Ross, 1965, reprinted Washington Paperbacks WP-52, Seattle: University of Washington Press, 1969, reprinted again Seattle: University of Washington Press, 1974 , and New York: Norton, 2000 (pbk). Stravinsky, Igor.
He was posthumously inducted into the National Museum of Dance and Hall of Fame in 2004. ==Music== Stravinsky's output is typically divided into three general style periods: a Russian period, a neoclassical period, and a serial period. ===Russian period (c.
Reprinted in Los Angeles Times "Daily Mirror" blog (3 June 2007) (accessed 9 March 2010). Anonymous.
(No longer accessible as of March 2008.) Schaeffner, André.
The New York Times (16 January) (Retrieved 22 June 2010). Anonymous.
Reprinted in Los Angeles Times "Daily Mirror" blog (3 June 2007) (accessed 9 March 2010). Anonymous.
A collection of Stravinsky's writings and interviews appears under the title Confidences sur la musique (Actes Sud, 2013). ==Notes== == References == (excerpt), The New York Times.
Retrieved 10 August 2013. ==Further reading== Anonymous.
Norton Locanto, Massimiliano (ed.) 2014.
5 which was performed once and then considered lost until its re-discovery in 2015. In August 1905, Stravinsky became engaged to his first cousin, Katherine Gavrylivna Nosenko.
The piece premiered 17 January 1909 in the Grand Hall of the Saint Petersburg Conservatory but was then lost until September 2015, when it resurfaced in a back room of the city's Conservatoire.
Extended edition available online since 2015, in English and German. Kirchmeyer, Helmut.
It was played again for the first time in over a century on 2 December 2016.
The rediscovery generated much enthusiasm and, as a result, over 25 performances were scheduled in 2017. Performances in St.
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