This book is the first to be devoted to the music of Stravinsky's last compositional period. In the early 1950s, Stravinsky's compositional style began to change and evolve with astonishing rapidity. He abandoned the musical neoclassicism to which he had been committed for the preceding three decades and, with the stimulus provided by his newly gained knowledge of the music of Schoenberg and Webern, launched himself on a remarkable voyage of compositional discovery. The book focuses on five historical, analytical, and interpretive issues: Stravinsky's relationship to his serial predecessors and contemporaries; his compositional process; the problem of creating formal continuity in a repertoire so obviously discontinuous in so many ways; the problem of writing serial harmony; and the problem of expression and meaning. Challenging conventional interpretations, the book shows that Stravinsky's serial music is not only of great historical significance, but also of astonishing structural originality and emotional power.
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Editorial Reviews
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'In elucidating its wider compositional basis, Straus has made a valuable and timely contribution to the understanding of a body of music which may in time impress itself on the wider consciousness of musicians and listeners.' International Record Review
Book Description
This book is the first to be devoted to the music of Stravinsky's last compositional period. Challenging conventional interpretations, the book shows that Stravinsky's serial music is not only of great historical significance, but also of astonishing structural originality and emotional power.
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Inside This Book
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First Sentence:
Stravinsky came to America in September 1939, one step ahead of the conflagration that was to engulf Europe, with the limited intention of fulfilling some concert engagements and delivering the Norton Lectures at Harvard University. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
rotational arrays, segmental subsets, other serial works, serial melodies, melodic stutter, own earlier music, serial melody, inversional balance, registral lines, serial charts, first hexachord, textural blocks, inversional symmetry, retrograde symmetry, serial mistakes, twist motive, segmental invariance, serial harmony, expressive topic, second hexachord, transposed rotations, analytical markings, serial derivation, same first note, twelve chords Key Phrases - Capitalized Phrases (CAPs): (learn more)
Requiem Canticles, Canticum Sacrum, New York, The Rake's Progress, The Flood, Igor Stravinsky, Milton Babbitt, Robert Craft, Three Shakespeare Songs, University of California Press, Paul Sacher Foundation, Les Noces, Los Angeles, Present Perspectives, Selected Correspondence, Stravinsky Archive, Claudio Spies, Confronting Stravinsky, Princeton University Press, Richard Taruskin, Oxford University, Perspectives of Neu, Perspectives of New Music, Symphonies of Wind Instruments, Symphony of Psalms New!
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Stravinsky came to America in September 1939, one step ahead of the conflagration that was to engulf Europe, with the limited intention of fulfilling some concert engagements and delivering the Norton Lectures at Harvard University. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
rotational arrays, segmental subsets, other serial works, serial melodies, melodic stutter, own earlier music, serial melody, inversional balance, registral lines, serial charts, first hexachord, textural blocks, inversional symmetry, retrograde symmetry, serial mistakes, twist motive, segmental invariance, serial harmony, expressive topic, second hexachord, transposed rotations, analytical markings, serial derivation, same first note, twelve chords Key Phrases - Capitalized Phrases (CAPs): (learn more)
Requiem Canticles, Canticum Sacrum, New York, The Rake's Progress, The Flood, Igor Stravinsky, Milton Babbitt, Robert Craft, Three Shakespeare Songs, University of California Press, Paul Sacher Foundation, Les Noces, Los Angeles, Present Perspectives, Selected Correspondence, Stravinsky Archive, Claudio Spies, Confronting Stravinsky, Princeton University Press, Richard Taruskin, Oxford University, Perspectives of Neu, Perspectives of New Music, Symphonies of Wind Instruments, Symphony of Psalms New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Citations (learn more)
This book cites 57
books:
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- Themes and Episodes by Igor Stravinsky on 13 pages
- Memories and Commentaries: New One-Volume Edition by Igor Stravinsky on 9 pages
- The Music of Igor Stravinsky (Composers of the Twentieth Century) by Pieter C. Van Den Toorn on 9 pages
- Present Perspectives by Robert Craft on 8 pages
- Themes and Conclusions by Igor Stravinsky on 6 pages
See all 57 books this book cites
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