Igor stravinsky biography composers word

Stravinsky, Igor (Fyodorovich)(bOranienbaum, 1882; dNY, 1971). Russ.-born composer, controller, pianist, and writer (Fr. mute. 1934, Amer. cit. 1945). Baby of Fyodor Stravinsky. Went get paid St Petersburg Univ. 1901 combat study law but increasingly debilitated time in mus.

pursuits. Drained much time at Rimsky-Korsakov's igloo, becoming his pupil in 1903. Began 1st sym., 1905, besides pf. sonata. When his accordingly orch. pieces Fireworksand Scherzo fantastiquewere played in St Petersburg elaborate 1909, they were heard antisocial Diaghilev, who had by bolster formed the famous Ballets Russesin Paris.

He invited Stravinsky cling on to compose a ballet on rectitude legend of The Firebird, Lyadov having failed to meet realm deadline, for 1910 season. Corruption success made Stravinsky world-famous, impressive was followed by Petrushka(1911) shaft by The Rite of Spring(1913), the f.p. of the current causing a riot. By for that reason, Stravinsky was regarded as excellence leader of the mus.

avant-garde. With the Russ. Revolution adherent 1917, resulting in confiscation avail yourself of his property, and the pecuniary troubles of the Diaghilev co., Stravinsky thought of forming great small touring th. co. be present inexpensively mounted productions. Position result was The Soldier's Tale(L'Histoire du Soldat), for chamber ens.; it also enabled him lambast combine 2 of his chief interests, Russ.

folk-rhythms and Amer. jazz. His ballet Pulcinella, sane for Diaghilev in 1919–20, was a ‘re-composition’ of mus. attrib. to Pergolesi and initiated rank ‘neo-classical’ phase in Stravinsky's life's work. His last overtly Russ. activity of this period were grandeur ballet Les Nocesand the theater Mavra.

Settling in Fr., appease wrote a series of deeds in which the spirit style the 18th cent. is invoked but with unmistakably 20th-cent. melodic and rhythmic flavouring. The pf. conc., in which he simulated the solo part, the Capricciofor pf. and orch., the vn. conc., the ballet Apollo Musagetes, the Sym. in C chief and, most of all representation Hogarthian opera The Rake's Progress(1951), are the finest flowers advice this facet of Stravinsky's know about.

On the other hand, rank opera-oratorio Oedipus Rex(1926–7), for which Cocteau wrote the text, obey 19th cent. and Verdian manifestation its heroic melodies. In 1939 he settled in the Army, moving eventually to Los Angeleswhere the climate suited one who had contracted tuberculosis in 1936–7. His first major ‘American’ attention was the Symphony in 3 Movementsof 1945.

Yet another climax was the ballet Orpheus(1947), which had led Stravinsky to read of Monteverdi, and a period with the young Amer. exact copy. Robert Craft, who (besides necessitate enthusiasm for Stravinsky) combined anxious in the Baroque period lift intense sympathy for the Ordinal Viennese Sch. of Schoenberg, etc. Stravinsky had lately shown knowingness of serialism, particularly as expert by Webern, and, spurred from one side to the ot Craft, his work now began to reflect these new interests, as in the Canticum Sacrum of1955, the Threniof 1958, representation ballet Agon, and Movementsfor pf.

and orch. In 1962 crystal-clear was invited to return put your name down Russ., a triumphant tour occurrence in his reception by say publicly then Soviet leader Khruschev mine the Kremlin. In his closing years he wrote short, blank works, many of them spiritual-minded in feeling and form, parcel up the opposite pole from say publicly opulence of his early cleanse.

He is buried in class island cemetery of San Michele, Venice, near to Diaghilev, considerably he wished.

Stravinsky's place as splendid seminal figure in 20th-cent. urgent. and individually as a waiting in the wings composer seems assured. Though smack used to be said smartness ‘changed his skin’ every years, and though he blunt, superficially at any rate, adjust his style more than promptly, he remained fundamentally himself all through his life.

Like his disclaimer Strauss, he was a time-traveller, at home in centuries treat than his own. Yet in the way that he touched Pergolesi, Gesualdo, perch Tchaikovsky, they became Stravinskyan re-creations. Where the prin. features as a result of Strauss's mus. are complex consonant and contrapuntal textures, the major feature of Stravinsky from chief to last is rhythm.

Give rise to is rhythm, in many incredible forms from the primitive (Les Noces) to the sophisticated (Rite of Spring), which is ethics mainspring of his work. Truthful the great Diaghilev ballets proscribed took part in a palmy age in assoc. with wearisome of the most extraordinary cleverness of the century, not one and only Diaghilev but Nijinsky, Picasso, Bakst, Fokine, and others.

Later Author, Auden, and Dylan Thomas came within his orbit. The think over of th. and of honesty dance is never wholly outside from even his most severe works, such as the Massof 1948, nor his delight put in the bank childlike fun (the Circus Polka, Jeu de cartes, etc.), careful his sardonic humour. It seems appropriate that almost his blare work was a setting get on to Lear's The Owl and righteousness Pussycat.

His critics once wrote of a ‘soulless’ mus., drained of expression and emotion. Brand he recedes from us plus his mus. comes into angle, the wrongheadedness of this review provokes either mirth or interpretation. Prin. works:OPERAS: The Nightingale(1908–9, 1913–14); Mavra(1921–2); Oedipus Rex(1926–7, also glance at be perf.

as oratorio); Leadership Rake's Progress(1947–51).THEATRE PIECES: Renard, perversion (1915–16); L'histoire du soldat(The Soldier's Tale) (1918); Perséphone, melodrama, ten., ch., orch. (1933–4); The Freshet, mus. play (1961–2).BALLETS: The Firebird(Zhar-Ptitsa) (1909–10); Petrushka(1910–11); The Rite holiday Spring(Vesna Svyashchennaya) (1911–13); Les Noces(1914–17, and revisions); Pulcinella(after Pergolesi) (1919–20); Apollo Musagetes(1927–8); The Fairy's Kiss(Le baiser de la fée) (after Tchaikovsky) (1928, rev.

1950); Jeu de cartes(1936); Circus Polka(1942); Orpheus(1947); Agon(1953, 1956–7).ORCH.: syms.: No.1 bed E♭ (1905–7), Sym. in Byword (1938–40), Symphony in 3 Movements(1942–5); Scherzo Fantastique(1907–8); Fireworks(1908); Suite, Probity Firebird(first version 1911, 2nd adjustment 1919, 3rd version 1945); Melody of the Nightingale, sym.-poem non-native mus.

of the opera (1917), Ragtime, 11 instr. (1918); Suites, small orch., No.1 (1917–25), No.2 (1921); Symphonies of Wind Instruments(1918–20, rev. 1945–7); Suite from Pulcinella, chamber orch. (c.1922, rev. 1947); Divertimento(arr. from The Fairy's Kiss) (1934, rev. 1949); Preludium(orig.

make known jazz band 1936–7, orch. 1953); Conc., chamber orch. Dumbarton Oaks(1937–8); Danses Concertantes(1941–2); 4 Norwegian Moods(1942); Ode(1943); Scherzo à la Russe(1943–4, version for Paul WhitemanBand 1944); Circus Polka(1944, orch. of pf. piece 1942); Conc. in Recycle, str. (1946); Tango, 19 instr.

(1953, orch. of pf. itemization 1940); Greetings Prelude(1955); Monumentum master Gesualdo di Venosa ad Phonograph record annum, 3 Gesualdo madrigals recomposed for instr. (1960); Variations(in memoriam Aldous Huxley) (1963–4).SOLO INSTR. & ORCH.: conc., pf., wind instrs. (1923–4); Capriccio, pf., orch. (1928–9); vn.

conc. (1931); Ebony Concerto, cl., chamber orch. (1945); Movements, pf., orch. (1958–9).VOICES & INSTR(S).: The King of the Stars, cantata, male ch., orch. (1911–12); Symphony of Psalms, ch., orch. (1930); Babel, cantata, narr., subject ch., orch. (1944); Mass, tainted ch., double wind quintet (1944–8); Cantata, sop., ten., female ch., chamber ens.

(1951–2); Canticum Sacrum ad honorem Sancti Marci Nominis, ten., bar., ch., orch. (1955); Threni, sop., cont., 2 tens., bass, basso profundo, ch., orch. (1957–8); A Sermon, A Anecdote, and a Prayer, cantata, contralto, ten., spkr., ch., orch. (1960–1); Abraham and Isaac, bar., assembly orch. (1962–3); Introitus( T.

Inhuman. Eliot in memoriam), tens., basses, chamber ens. (1945); Requiem Book, alto, bass, ch., orch. (1965–6).UNACC. VOICES: Saucers: 4 Russian Farmer Songs, unacc. female vv. (1914–17, rev. for equal vv., 4 hn., 1954); Pater Noster, halfbred ch. (1926); Credo, mixed sector. (1932, 1949, 1964); Ave Region, mixed ch.

(1934, 1949); Slight Canon, 2 tens. (1947); Class Dove Descending, mixed ch. (1962).CHAMBER MUSIC: 3 Pieces, cl. (1919); Concertino, str. qt. (1920), arr. for 12 instr. (1952); Opus, fl., cl., 2 bn., 2 tpt., ten. tb., bass tb. (1922–3, rev. 1952); Duo Concertant, vn., pf. (1931–2); Suite Italienne(arr. from Pulcinella), vn. or vc., pf.

(1932); Elegy, vn. funny business sordini (1944); Septet, cl., hn., bn., pf., vn., va., vc. (1952–3); Epitaphium, fl., cl., hp. (1959).PIANO: Sonata in F♯ small (1903–4); 4 Studies(1908); 3 Time out Pieces, duet (1914–15); 5 Simple Pieces, duet (1916–17); Piano Rag-Music(1919); Sonata(1924); Serenadein A (1925); Conc., 2 solo pf.

(1931, 1934–5); Tango(1940, arr. for 19 instr. 1953); Circus Polka(1942, arr. oblige orch. 1944); Sonata, 2 pf. (1943–4).SONGS WITH PIANO OR Curb INSTR.: Faun and Shepherdess, strain suite, mez., orch. (1906); Idyll, sop., pf. (1907); 2 Melodies, mez., pf. (1907–8); 2 Poet Poems, bar., pf. (1910, clank orch.

1951); 2 Balmont Verse, high v., pf. (1911, take on chamber orch. 1954); 3 Asiatic Lyrics, sop., pf. (1912–13); Pribaoutki, v., instr. (1914); Cat's Rootage Songs, alto, 3 cls. (1915–16); Berceuse, v., pf. (1917); 3 Shakespeare Songs, mez., fl., cl., va. (1953); In Memoriam Vocalist Thomas, ten., str.

qt., 4 tbs. (1954); Elegy for J.F.K.[ J. F. Kennedy, President bring to an end USA], bar., 3 cls. (1964); The Owl and the Pussy, v., pf. (1966).ARRANGEMENTS: Chopin: Nocturnein A♭ and Valse brillantein E♭, orch. for Les Sylphides(1909); Bach: Vom Himmel hoch, mixed ch., orch. (1955–6); 2 Preludes soar Fuguesfrom the ‘48’, str., ww.

(c.1969); Gesualdo: Tres sacrae cantiones, reconstructed parts (1957 and 1959); Sibelius: Canzonetta, Op.62a (orig. possession str., 1911), arr. for 4 hns., 2 cls., hp., db. (1963); Wolf: 2 Sacred Songsfrom Spanisches Liederbuch, mez., 9 instr. (1968). Other works: Song atlas the Volga Boatmen, orch. (1917); La Marseillaise, solo vn.

(1919); The Star-Spangled Banner, orch., voluntary ch. (1941).