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1 Answer. Igor Stravinsky became an American citizen in 1940.Igor Stravinsky’s collaborations with Serge Diaghilev for the Ballet Russes, including The Firebird (1910), made him known overnight. Other compositions included The Rite of Spring (1913), which provoked one of the most famous first-night riots in the history of musical theatre, and The Rake’s Progress (1951).He wrote ensembles in a broad spectrum of classical forms, ranging from opera and symphonies to piano miniatures and works for jazz band. Stravinsky achieved fame as a pianist and conductor, often at the premieres of his works.

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Igor Stravinsky | Biography, Music, & Facts | Britannica

In 1902 he showed some of his early pieces to the composer Nikolay Rimsky-Korsakov (whose son … They became U.S. citizens in 1945.

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What was Stravinsky known for?

Igor Stravinsky’s collaborations with Serge Diaghilev for the Ballet Russes, including The Firebird (1910), made him known overnight. Other compositions included The Rite of Spring (1913), which provoked one of the most famous first-night riots in the history of musical theatre, and The Rake’s Progress (1951).

What type of music did Stravinsky compose?

He wrote ensembles in a broad spectrum of classical forms, ranging from opera and symphonies to piano miniatures and works for jazz band. Stravinsky achieved fame as a pianist and conductor, often at the premieres of his works.

Who was Igor Stravinsky influenced by?

Where did Igor Stravinsky live?

What was Igor Stravinsky most famous piece?

Rite of Spring (1913)

All three of Stravinsky’s pre-World War I ballets are wonderful works, but start with the greatest masterpiece of the three: The Rite of Spring, which is perhaps Stravinsky’s most famous piece of music.

Which two composers can be classified as Neoclassicists?

Two significant composers led the development of neoclassical music: in France, Igor Stravinsky proceeding from the influence of Erik Satie, and Germany Paul Hindemith proceeding from the “New Objectivism” of Ferruccio Busoni.

Who is the composer from the United States with his truly unconventional?

20. MUSIC  Quarter I 18 From the United States, there were avant garde composers such as George Gershwin and John Cage with their truly unconventional composition techniques; Leonard Bernstein with his famed stage musicals and his music lectures for young people; and Philip Glass with his minimalist compositions.

What are 3 styles of music composition that developed during the 20th century?

Aleatory, atonality, serialism, musique concrète, electronic music, and concept music were all developed during the century. Jazz and ethnic folk music became important influences on many composers during this century.

Who are the famous neo classicism composers?

Who influenced Maurice Ravel?

What influenced Igor?

Igor had taken to music at an early age and was an accomplished pianist by the age of fifteen. Bored with his studies at the University of Saint Petersburg, he began to take private lessons with Nikolay Rimsky-Korsakov, who would turn out to be his greatest musical influence.

What music era was Igor Stravinsky in?

Music. Stravinsky’s output is typically divided into three general style periods: a Russian period, a neoclassical period, and a serial period.

When did Stravinsky come to America?

In 1939, he emigrated to the United States, where he attempted unsuccessfully to write music for films. He continued composing late into his life, and when he was well into his eighties he embarked on a full schedule of performances as conductor, both in concert and on record.

How many pieces did Igor Stravinsky compose?

Between the early pieces, written under the eye of his only teacher, Nikolai RimskyKorsakov, and the compositions of Stravinsky’s old age, there were more than 100 works: symphonies, concertos, chamber pieces, songs, piano sonar tas, operas and, above all, ballets.

Where did Igor Stravinsky died?

What are three interesting facts about Igor Stravinsky?

What are three works by Stravinsky?

What is the title of musical work of Stravinsky?

Was Stravinsky a good person?

In real life, Igor Stravinsky was not a great man. He was a liar and a cheat, he could be mean and spiteful, he treated his first wife shamefully, he spouted anti-Semitic filth, he was obsessed with money.

Which Composer Became an American Citizen in 1940

– is characteristic of classical ragtime music. He eventually became an American citizen in 1940.

6 Composers Who Immigrated To The United States And Called Los Angeles Home Wfmt

What composer became an American citizen in 1940.

. Richard Wagner Ludwig von Beethoven Igor Stravinsky Claude Debussy Weegy. Schoenbergs Kol nidre Op. Tremblay George AmedéeTremblay George Amedée Canadian-born American pianist teacher and composer.

He became an American citizen in 1940 but he lived in Switzerland from 1950 to 1958 and then spent the remainder of his life in Los Angeles California. After his graduation in 1940 he pursued further studies in conducting with Serge Koussevitzky at Tanglewood and in composition with Paul Hindemith at Yale. He composed the music for nearly 100 films and earned 16 Academy Award nominations for Best Original Score.

Arnold Schoenberg was born in ___ but he became an American citizen in 1940 Vienna Which of the following music genres developed around the turn of the twentieth century and incorporates elements of African music and Western popular art music. Who pioneered classical ragtime music. N-2180 where n is the number of sides18-2180 28800 now this is the full exterior angle of 18-gon so you divide it by 182880018160.

He moved to the United States in 1936 and became an American citizen in 1941. In 1940-41 he was professor of counterpoint and composition at Marymount College in Tarrytown NY and in 1945 joined the faculty of the Cincinnati College of Music. Which composer became an American citizen in 1940.

He studied music with his father a church organist. In the 1950s Stravinsky shocked the musical world by turning to serialism and produced the twelve-tone ballet Agon and the choral work Canticum Sacrum among others. In 1919 he was taken to the US.

From 1942 through 1946 the United States government detained about 112000 people of Japanese heritage approximately 75000 of whom were American citizens. He moved to the United States in 1939 after which he became an American citizen. Widely considered the greatest film composer ever John Williams has played a significant role in the American film industry by composing music for films such as the Jurassic Park films Star Wars saga the Indiana Jones films and Schindlers.

He was granted permanent residency in the US in 1935 and citizenship in 1940. Eventually settled in Los Angeles where he met Schoenberg 1936 and became his ardent disciple and friend. He became known at the beginning of the 20th century.

Tijuana Mexico July 14 1982. -richard wagner -ludwig von beethoven -igor stravinsky -claude debussy. Floral Park New York United States.

What composer became an American citizen in 1940. 39 is one of the most moving pieces he wrote after emigrating to the United States. He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music.

As a songwriter and composer he and. However Schoenberg did choose to become a naturalized citizen in 1941 and he influenced future generations of composers as a professor of music at UCLA. Igor Fyodorovich Stravinsky ComSE 17 June OS.

Moved to New York City in 1955 and became an American citizen in 1963. Igor Fyodorovich Stravinsky 1882-1971 was an influential Russian songwriter conductor and pianist. What style of music created a dissonant sound using uncommon scales.

John Williams is an American composer pianist trombonist and conductor. Jewish-Austrian composer Arnold Schoenberg is often described as the father of modern music Best known as the pioneer of the twelve-tone compositional technique he came to America in 1933 to escape the rise of the Nazis. Born in Budapest composer Miklós Rózsa became an American citizen in 1946 while working on the score for The Thief of Bagdad.

A Richard Wagner B Ludwig von Beethoven C Igor Stravinsky D Claude Debussy Igor Stravinsky became an American citizen in. He became an American citizen in 1942. Prior to his arrival in America he and his family moved first to Switzerland and then to France.

Correct answer to the question Which composer became an american citizen in 1940. Igor Stravinsky became an American citizen in 1940. When World War II broke out Stravinsky fled Europe and came to the United States where he settled in Hollywood California.

In 1927 he helped found the Association of Young Polish Composers in Paris. Which composer became an american citizen in 1940. After that Toch taught privately and made several European concert tours.

5 June 1882 6 April 1971 was a Russian composer pianist and conductor later of French from 1934 and American from 1945 citizenship. Stravinskys compositional career was. During the worldwide economic depression of the 1930s industrial output farm production and employment fell dramatically.

-richard wagner -ludwig von beethoven -igor stravinsky -claude debussy -. Read more about Arnold Schoenberg. Toch died on October 1 1964 in Los Angeles.

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Igor Stravinsky | Biography, Music, & Facts

Igor Stravinsky was always in mediocre health—he suffered from tuberculosis in the 1930s and a stroke in 1956—but he continued full-scale creative work until 1966. He died from heart failure in New York City in 1971. He was 88 years old.

Igor Stravinsky studied law and philosophy at St. Petersburg University, from which he graduated in 1905. While studying, he showed some of his musical compositions to composer Nikolay Rimsky-Korsakov , who was sufficiently impressed to take Stravinsky as a private pupil while advising him not to enter the conservatory for conventional academic training.

Igor Stravinsky’s father, Fyodor, was one of the leading Russian operatic basses of his day, and Igor’s mother, Anna, was a talented pianist. Igor married his cousin Catherine Nossenko and had four children. In 1940, after the deaths of his eldest daughter (1938), his wife (1939), and his mother (1939), he married Vera de Bosset.

Igor Stravinsky’s collaborations with Serge Diaghilev for the Ballet Russes , including The Firebird (1910), made him known overnight. Other compositions included The Rite of Spring (1913), which provoked one of the most famous first-night riots in the history of musical theatre, and The Rake’s Progress (1951).

Summary

Igor Stravinsky , in full Igor Fyodorovich Stravinsky , (born June 5 [June 17, New Style], 1882, Oranienbaum [now Lomonosov], near St. Petersburg , Russia—died April 6, 1971, New York , New York, U.S.), Russian-born composer whose work had a revolutionary impact on musical thought and sensibility just before and after World War I , and whose compositions remained a touchstone of modernism for much of his long working life. He was honoured with the Royal Philharmonic Society Gold Medal in 1954 and the Wihuri Sibelius Prize in 1963. (Click here for an audio excerpt from Stravinsky’s Three Pieces for Clarinet.)

Life and career

Stravinsky’s father was one of the leading Russian operatic basses of his day, and the mixture of the musical, theatrical, and literary spheres in the Stravinsky family household exerted a lasting influence on the composer. Nevertheless his own musical aptitude emerged quite slowly. As a boy he was given lessons in piano and music theory. But then he studied law and philosophy at St. Petersburg University (graduating in 1905), and only gradually did he become aware of his vocation for musical composition. In 1902 he showed some of his early pieces to the composer Nikolay Rimsky-Korsakov (whose son Vladimir was a fellow law student), and Rimsky-Korsakov was sufficiently impressed to agree to take Stravinsky as a private pupil, while at the same time advising him not to enter the conservatory for conventional academic training.

Britannica Quiz Composers & Their Music Crazy for classical music? Compose yourself and find out how much you know about Handel, Mozart, Dvorák, and more.

Rimsky-Korsakov tutored Stravinsky mainly in orchestration and acted as the budding composer’s mentor, discussing each new work and offering suggestions. He also used his influence to get his pupil’s music performed. Several of Stravinsky’s student works were performed in the weekly gatherings of Rimsky-Korsakov’s class, and two of his works for orchestra—the Symphony in E-flat Major and The Faun and the Shepherdess, a song cycle with words by Aleksandr Pushkin—were played by the Court Orchestra in 1908, the year Rimsky-Korsakov died. In February 1909 a short but brilliant orchestral piece, the Scherzo fantastique was performed in St. Petersburg at a concert attended by the impresario Serge Diaghilev, who was so impressed by Stravinsky’s promise as a composer that he quickly commissioned some orchestral arrangements for the summer season of his Ballets Russes in Paris. For the 1910 ballet season Diaghilev approached Stravinsky again, this time commissioning the musical score for a new full-length ballet on the subject of the Firebird.

The premiere of The Firebird at the Paris Opéra on June 25, 1910, was a dazzling success that made Stravinsky known overnight as one of the most gifted of the younger generation of composers. This work showed how fully he had assimilated the flamboyant Romanticism and orchestral palette of his master. The Firebird was the first of a series of spectacular collaborations between Stravinsky and Diaghilev’s company. The following year saw the Ballets Russes’s premiere on June 13, 1911, of the ballet Petrushka, with Vaslav Nijinsky dancing the title role to Stravinsky’s musical score. Meanwhile, Stravinsky had conceived the idea of writing a kind of symphonic pagan ritual to be called Great Sacrifice. The result was The Rite of Spring (Le Sacre du printemps), the composition of which was spread over two years (1911–13). The first performance of The Rite of Spring at the Théâtre des Champs Élysées on May 29, 1913, provoked one of the more famous first-night riots in the history of musical theatre. Stirred by Nijinsky’s unusual and suggestive choreography and Stravinsky’s creative and daring music, the audience cheered, protested, and argued among themselves during the performance, creating such a clamour that the dancers could not hear the orchestra. This highly original composition, with its shifting and audacious rhythms and its unresolved dissonances, was an early modernist landmark. From this point on, Stravinsky was known as “the composer of The Rite of Spring” and the destructive modernist par excellence. But he himself was already moving away from such post-Romantic extravagances, and world events of the next few years only hastened that process.

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Stravinsky’s successes in Paris with the Ballets Russes effectively uprooted him from St. Petersburg. He had married his cousin Catherine Nossenko in 1906, and, after the premiere of The Firebird in 1910, he brought her and their two children to France. The outbreak of World War I in 1914 seriously disrupted the Ballets Russes’s activities in western Europe, however, and Stravinsky found he could no longer rely on that company as a regular outlet for his new compositions. The war also effectively marooned him in Switzerland, where he and his family had regularly spent their winters, and it was there that they spent most of the war. The Russian Revolution of October 1917 finally extinguished any hope Stravinsky may have had of returning to his native land.

By 1914 Stravinsky was exploring a more restrained and austere, though no less vibrantly rhythmic kind of musical composition. His musical production in the following years is dominated by sets of short instrumental and vocal pieces that are based variously on Russian folk texts and idioms and on ragtime and other style models from Western popular or dance music. He expanded some of these experiments into large-scale theatre pieces. The Wedding, a ballet cantata begun by Stravinsky in 1914 but completed only in 1923 after years of uncertainty over its instrumentation, is based on the texts of Russian village wedding songs. The “farmyard burlesque” Renard (1916) is similarly based on Russian folk idioms, while The Soldier’s Tale (1918), a mixed-media piece using speech, mime, and dance accompanied by a seven-piece band, eclectically incorporates ragtime, tango, and other modern musical idioms in a series of highly infectious instrumental movements. After World War I the Russian style in Stravinsky’s music began to fade, but not before it had produced another masterpiece in the Symphonies of Wind Instruments (1920).

The compositions of Stravinsky’s first maturity—from The Rite of Spring in 1913 to the Symphonies of Wind Instruments in 1920—make use of a modal idiom based on Russian sources and are characterized by a highly sophisticated feeling for irregular metres and syncopation and by brilliant orchestral mastery. But his voluntary exile from Russia prompted him to reconsider his aesthetic stance, and the result was an important change in his music—he abandoned the Russian features of his early style and instead adopted a Neoclassical idiom. Stravinsky’s Neoclassical works of the next 30 years usually take some point of reference in past European music—a particular composer’s work or the Baroque or some other historical style—as a starting point for a highly personal and unorthodox treatment that nevertheless seems to depend for its full effect on the listener’s experience of the historical model from which Stravinsky borrowed.

The Stravinskys left Switzerland in 1920 and lived in France until 1939, and Stravinsky spent much of this time in Paris. (He took French citizenship in 1934.) Having lost his property in Russia during the revolution, Stravinsky was compelled to earn his living as a performer, and many of the works he composed during the 1920s and ’30s were written for his own use as a concert pianist and conductor. His instrumental works of the early 1920s include the Octet for Wind Instruments (1923), Concerto for Piano and Wind Instruments (1924), Piano Sonata (1924), and the Serenade in A for piano (1925). These pieces combine a Neoclassical approach to style with what seems a self-conscious severity of line and texture. Though the dry urbanity of this approach is softened in such later instrumental pieces as the Violin Concerto in D Major (1931), Concerto for Two Solo Pianos (1932–35), and the Concerto in E-flat (or Dumbarton Oaks concerto) for 16 wind instruments (1938), a certain cool detachment persists.

In 1926 Stravinsky experienced a religious conversion that had a notable effect on his stage and vocal music. A religious strain can be detected in such major works as the operatic oratorio Oedipus Rex (1927), which uses a libretto in Latin, and the cantata Symphony of Psalms (1930), an overtly sacred work that is based on biblical texts. Religious feeling is also evident in the ballets Apollon musagète (1928) and in Persephone (1934). The Russian element in Stravinsky’s music occasionally reemerged during this period: the ballet The Fairy’s Kiss (1928) is based on music by Pyotr Ilyich Tchaikovsky, and the Symphony of Psalms has some of the antique austerity of Russian Orthodox chant, despite its Latin text.

In the years following World War I, Stravinsky’s ties with Diaghilev and the Ballets Russes had been renewed, but on a much looser basis, and the only new ballet Diaghilev commissioned from Stravinsky was Pulcinella (1920). Apollon musagète, Stravinsky’s last ballet to be mounted by Diaghilev, premiered in 1928, a year before Diaghilev’s own death and the dissolution of his ballet company.

In 1936 Stravinsky wrote his autobiography. Like his six later collaborations with Robert Craft, a young American conductor and scholar who worked with him after 1948, this work is factually unreliable. In 1938 Stravinsky’s oldest daughter died of tuberculosis, and the deaths of his wife and mother followed in 1939, just months before World War II broke out. Early in 1940 he married Vera de Bosset, whom he had known for many years. In autumn 1939 Stravinsky had visited the United States to deliver the Charles Eliot Norton Lectures at Harvard University (later published as the The Poetics of Music, 1942), and in 1940 he and his new wife settled permanently in Hollywood, California. They became U.S. citizens in 1945.

During the years of World War II, Stravinsky composed two important symphonic works, the Symphony in C (1938–40) and the Symphony in Three Movements (1942–45). The Symphony in C represents a summation of Neoclassical principles in symphonic form, while the Symphony in Three Movements successfully combines the essential features of the concerto with the symphony. From 1948 to 1951 Stravinsky worked on his only full-length opera, The Rake’s Progress, a Neoclassical work (with a libretto by W.H. Auden and the American writer Chester Kallman) based on a series of moralistic engravings by the 18th-century English artist William Hogarth. The Rake’s Progress is a mock-serious pastiche of late 18th-century grand opera but is nevertheless typically Stravinskyan in its brilliance, wit, and refinement.

The success of these late works masked a creative crisis in Stravinsky’s music, and his resolution of this crisis was to produce a remarkable body of late compositions. After World War II a new musical avant-garde had emerged in Europe that rejected Neoclassicism and instead claimed allegiance to the serial, or 12-tone, compositional techniques of the Viennese composers Arnold Schoenberg, Alban Berg, and especially Anton von Webern. (Serial music is based on the repetition of a series of tones in an arbitrary but fixed pattern without regard for traditional tonality.) According to Craft, who entered Stravinsky’s household in 1948 and remained his intimate associate until the composer’s death, the realization that he was regarded as a spent force threw Stravinsky into a major creative depression, from which he emerged, with Craft’s help, into a phase of serial composition in his own intensely personal manner. A series of cautiously experimental works (the Cantata, the Septet, In Memoriam Dylan Thomas) was followed by a pair of hybrid masterpieces, the ballet Agon (completed 1957) and the choral work Canticum Sacrum (1955), that are only intermittently serial. These in turn led to the choral work Threni (1958), a setting of the biblical Lamentations of Jeremiah in which a strict 12-tone method of composition is applied to chantlike material whose underlying character recalls that of such earlier choral works as The Wedding and the Symphony of Psalms. In his Movements for piano and orchestra (1959) and his orchestral Variations (1964), Stravinsky refined his manner still further, pursuing a variety of arcane serial techniques to support a music of increasing density and economy and possessing a brittle, diamantine brilliance. Stravinsky’s serial works are generally much briefer than his tonal works but have a denser musical content.

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Though always in mediocre health (he suffered a stroke in 1956), Stravinsky continued full-scale creative work until 1966. His last major work, Requiem Canticles (1966), is a profoundly moving adaptation of modern serial techniques to a personal imaginative vision that was deeply rooted in his Russian past. This piece is an amazing tribute to the creative vitality of a composer then in his middle 80s.

Igor Stravinsky | Biography, Music, & Facts

Igor Stravinsky was always in mediocre health—he suffered from tuberculosis in the 1930s and a stroke in 1956—but he continued full-scale creative work until 1966. He died from heart failure in New York City in 1971. He was 88 years old.

Igor Stravinsky studied law and philosophy at St. Petersburg University, from which he graduated in 1905. While studying, he showed some of his musical compositions to composer Nikolay Rimsky-Korsakov , who was sufficiently impressed to take Stravinsky as a private pupil while advising him not to enter the conservatory for conventional academic training.

Igor Stravinsky’s father, Fyodor, was one of the leading Russian operatic basses of his day, and Igor’s mother, Anna, was a talented pianist. Igor married his cousin Catherine Nossenko and had four children. In 1940, after the deaths of his eldest daughter (1938), his wife (1939), and his mother (1939), he married Vera de Bosset.

Igor Stravinsky’s collaborations with Serge Diaghilev for the Ballet Russes , including The Firebird (1910), made him known overnight. Other compositions included The Rite of Spring (1913), which provoked one of the most famous first-night riots in the history of musical theatre, and The Rake’s Progress (1951).

Summary

Igor Stravinsky , in full Igor Fyodorovich Stravinsky , (born June 5 [June 17, New Style], 1882, Oranienbaum [now Lomonosov], near St. Petersburg , Russia—died April 6, 1971, New York , New York, U.S.), Russian-born composer whose work had a revolutionary impact on musical thought and sensibility just before and after World War I , and whose compositions remained a touchstone of modernism for much of his long working life. He was honoured with the Royal Philharmonic Society Gold Medal in 1954 and the Wihuri Sibelius Prize in 1963. (Click here for an audio excerpt from Stravinsky’s Three Pieces for Clarinet.)

Life and career

Stravinsky’s father was one of the leading Russian operatic basses of his day, and the mixture of the musical, theatrical, and literary spheres in the Stravinsky family household exerted a lasting influence on the composer. Nevertheless his own musical aptitude emerged quite slowly. As a boy he was given lessons in piano and music theory. But then he studied law and philosophy at St. Petersburg University (graduating in 1905), and only gradually did he become aware of his vocation for musical composition. In 1902 he showed some of his early pieces to the composer Nikolay Rimsky-Korsakov (whose son Vladimir was a fellow law student), and Rimsky-Korsakov was sufficiently impressed to agree to take Stravinsky as a private pupil, while at the same time advising him not to enter the conservatory for conventional academic training.

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Rimsky-Korsakov tutored Stravinsky mainly in orchestration and acted as the budding composer’s mentor, discussing each new work and offering suggestions. He also used his influence to get his pupil’s music performed. Several of Stravinsky’s student works were performed in the weekly gatherings of Rimsky-Korsakov’s class, and two of his works for orchestra—the Symphony in E-flat Major and The Faun and the Shepherdess, a song cycle with words by Aleksandr Pushkin—were played by the Court Orchestra in 1908, the year Rimsky-Korsakov died. In February 1909 a short but brilliant orchestral piece, the Scherzo fantastique was performed in St. Petersburg at a concert attended by the impresario Serge Diaghilev, who was so impressed by Stravinsky’s promise as a composer that he quickly commissioned some orchestral arrangements for the summer season of his Ballets Russes in Paris. For the 1910 ballet season Diaghilev approached Stravinsky again, this time commissioning the musical score for a new full-length ballet on the subject of the Firebird.

The premiere of The Firebird at the Paris Opéra on June 25, 1910, was a dazzling success that made Stravinsky known overnight as one of the most gifted of the younger generation of composers. This work showed how fully he had assimilated the flamboyant Romanticism and orchestral palette of his master. The Firebird was the first of a series of spectacular collaborations between Stravinsky and Diaghilev’s company. The following year saw the Ballets Russes’s premiere on June 13, 1911, of the ballet Petrushka, with Vaslav Nijinsky dancing the title role to Stravinsky’s musical score. Meanwhile, Stravinsky had conceived the idea of writing a kind of symphonic pagan ritual to be called Great Sacrifice. The result was The Rite of Spring (Le Sacre du printemps), the composition of which was spread over two years (1911–13). The first performance of The Rite of Spring at the Théâtre des Champs Élysées on May 29, 1913, provoked one of the more famous first-night riots in the history of musical theatre. Stirred by Nijinsky’s unusual and suggestive choreography and Stravinsky’s creative and daring music, the audience cheered, protested, and argued among themselves during the performance, creating such a clamour that the dancers could not hear the orchestra. This highly original composition, with its shifting and audacious rhythms and its unresolved dissonances, was an early modernist landmark. From this point on, Stravinsky was known as “the composer of The Rite of Spring” and the destructive modernist par excellence. But he himself was already moving away from such post-Romantic extravagances, and world events of the next few years only hastened that process.

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Stravinsky’s successes in Paris with the Ballets Russes effectively uprooted him from St. Petersburg. He had married his cousin Catherine Nossenko in 1906, and, after the premiere of The Firebird in 1910, he brought her and their two children to France. The outbreak of World War I in 1914 seriously disrupted the Ballets Russes’s activities in western Europe, however, and Stravinsky found he could no longer rely on that company as a regular outlet for his new compositions. The war also effectively marooned him in Switzerland, where he and his family had regularly spent their winters, and it was there that they spent most of the war. The Russian Revolution of October 1917 finally extinguished any hope Stravinsky may have had of returning to his native land.

By 1914 Stravinsky was exploring a more restrained and austere, though no less vibrantly rhythmic kind of musical composition. His musical production in the following years is dominated by sets of short instrumental and vocal pieces that are based variously on Russian folk texts and idioms and on ragtime and other style models from Western popular or dance music. He expanded some of these experiments into large-scale theatre pieces. The Wedding, a ballet cantata begun by Stravinsky in 1914 but completed only in 1923 after years of uncertainty over its instrumentation, is based on the texts of Russian village wedding songs. The “farmyard burlesque” Renard (1916) is similarly based on Russian folk idioms, while The Soldier’s Tale (1918), a mixed-media piece using speech, mime, and dance accompanied by a seven-piece band, eclectically incorporates ragtime, tango, and other modern musical idioms in a series of highly infectious instrumental movements. After World War I the Russian style in Stravinsky’s music began to fade, but not before it had produced another masterpiece in the Symphonies of Wind Instruments (1920).

The compositions of Stravinsky’s first maturity—from The Rite of Spring in 1913 to the Symphonies of Wind Instruments in 1920—make use of a modal idiom based on Russian sources and are characterized by a highly sophisticated feeling for irregular metres and syncopation and by brilliant orchestral mastery. But his voluntary exile from Russia prompted him to reconsider his aesthetic stance, and the result was an important change in his music—he abandoned the Russian features of his early style and instead adopted a Neoclassical idiom. Stravinsky’s Neoclassical works of the next 30 years usually take some point of reference in past European music—a particular composer’s work or the Baroque or some other historical style—as a starting point for a highly personal and unorthodox treatment that nevertheless seems to depend for its full effect on the listener’s experience of the historical model from which Stravinsky borrowed.

The Stravinskys left Switzerland in 1920 and lived in France until 1939, and Stravinsky spent much of this time in Paris. (He took French citizenship in 1934.) Having lost his property in Russia during the revolution, Stravinsky was compelled to earn his living as a performer, and many of the works he composed during the 1920s and ’30s were written for his own use as a concert pianist and conductor. His instrumental works of the early 1920s include the Octet for Wind Instruments (1923), Concerto for Piano and Wind Instruments (1924), Piano Sonata (1924), and the Serenade in A for piano (1925). These pieces combine a Neoclassical approach to style with what seems a self-conscious severity of line and texture. Though the dry urbanity of this approach is softened in such later instrumental pieces as the Violin Concerto in D Major (1931), Concerto for Two Solo Pianos (1932–35), and the Concerto in E-flat (or Dumbarton Oaks concerto) for 16 wind instruments (1938), a certain cool detachment persists.

In 1926 Stravinsky experienced a religious conversion that had a notable effect on his stage and vocal music. A religious strain can be detected in such major works as the operatic oratorio Oedipus Rex (1927), which uses a libretto in Latin, and the cantata Symphony of Psalms (1930), an overtly sacred work that is based on biblical texts. Religious feeling is also evident in the ballets Apollon musagète (1928) and in Persephone (1934). The Russian element in Stravinsky’s music occasionally reemerged during this period: the ballet The Fairy’s Kiss (1928) is based on music by Pyotr Ilyich Tchaikovsky, and the Symphony of Psalms has some of the antique austerity of Russian Orthodox chant, despite its Latin text.

In the years following World War I, Stravinsky’s ties with Diaghilev and the Ballets Russes had been renewed, but on a much looser basis, and the only new ballet Diaghilev commissioned from Stravinsky was Pulcinella (1920). Apollon musagète, Stravinsky’s last ballet to be mounted by Diaghilev, premiered in 1928, a year before Diaghilev’s own death and the dissolution of his ballet company.

In 1936 Stravinsky wrote his autobiography. Like his six later collaborations with Robert Craft, a young American conductor and scholar who worked with him after 1948, this work is factually unreliable. In 1938 Stravinsky’s oldest daughter died of tuberculosis, and the deaths of his wife and mother followed in 1939, just months before World War II broke out. Early in 1940 he married Vera de Bosset, whom he had known for many years. In autumn 1939 Stravinsky had visited the United States to deliver the Charles Eliot Norton Lectures at Harvard University (later published as the The Poetics of Music, 1942), and in 1940 he and his new wife settled permanently in Hollywood, California. They became U.S. citizens in 1945.

During the years of World War II, Stravinsky composed two important symphonic works, the Symphony in C (1938–40) and the Symphony in Three Movements (1942–45). The Symphony in C represents a summation of Neoclassical principles in symphonic form, while the Symphony in Three Movements successfully combines the essential features of the concerto with the symphony. From 1948 to 1951 Stravinsky worked on his only full-length opera, The Rake’s Progress, a Neoclassical work (with a libretto by W.H. Auden and the American writer Chester Kallman) based on a series of moralistic engravings by the 18th-century English artist William Hogarth. The Rake’s Progress is a mock-serious pastiche of late 18th-century grand opera but is nevertheless typically Stravinskyan in its brilliance, wit, and refinement.

The success of these late works masked a creative crisis in Stravinsky’s music, and his resolution of this crisis was to produce a remarkable body of late compositions. After World War II a new musical avant-garde had emerged in Europe that rejected Neoclassicism and instead claimed allegiance to the serial, or 12-tone, compositional techniques of the Viennese composers Arnold Schoenberg, Alban Berg, and especially Anton von Webern. (Serial music is based on the repetition of a series of tones in an arbitrary but fixed pattern without regard for traditional tonality.) According to Craft, who entered Stravinsky’s household in 1948 and remained his intimate associate until the composer’s death, the realization that he was regarded as a spent force threw Stravinsky into a major creative depression, from which he emerged, with Craft’s help, into a phase of serial composition in his own intensely personal manner. A series of cautiously experimental works (the Cantata, the Septet, In Memoriam Dylan Thomas) was followed by a pair of hybrid masterpieces, the ballet Agon (completed 1957) and the choral work Canticum Sacrum (1955), that are only intermittently serial. These in turn led to the choral work Threni (1958), a setting of the biblical Lamentations of Jeremiah in which a strict 12-tone method of composition is applied to chantlike material whose underlying character recalls that of such earlier choral works as The Wedding and the Symphony of Psalms. In his Movements for piano and orchestra (1959) and his orchestral Variations (1964), Stravinsky refined his manner still further, pursuing a variety of arcane serial techniques to support a music of increasing density and economy and possessing a brittle, diamantine brilliance. Stravinsky’s serial works are generally much briefer than his tonal works but have a denser musical content.

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Though always in mediocre health (he suffered a stroke in 1956), Stravinsky continued full-scale creative work until 1966. His last major work, Requiem Canticles (1966), is a profoundly moving adaptation of modern serial techniques to a personal imaginative vision that was deeply rooted in his Russian past. This piece is an amazing tribute to the creative vitality of a composer then in his middle 80s.

Igor Stravinsky

Igor Stravinsky

Игорь Стравинский

Background information Birth name Igor Fyodorovich Stravinsky Born June 17, 1882, Oranienbaum (now Lomonosov, Russia) Died April 6, 1971, New York City, NY, USA Occupation(s) Composer, Conductor, Pianist Notable instrument(s) Orchestra

Wind instruments

Igor Fyodorovich Stravinsky (Russian: Игорь Фёдорович Стравинский, Igor’ Fëdorovič Stravinskij) ( June 17, 1882 – April 6, 1971) was a Russian composer best known for three compositions from his earlier, Russian period: L’Oiseau de feu (“The Firebird”) (1910), Petrushka (1911), and Le sacre du printemps (“The Rite of Spring”) (1913).

These daring and innovative ballets essentially reinvented the genre. Stravinsky also composed primitivist, neo-classical and serial works. He wrote ensembles in a broad spectrum of classical forms, ranging from opera and symphonies to piano miniatures and works for jazz band.

Stravinsky achieved fame as a pianist and conductor, often at the premieres of his works. He was a writer and compiled, with the help of Alexis Roland-Manuel, a theoretical work entitled Poetics of Music, in which he famously claimed that music was incapable of “expressing anything but itself.” Several interviews in which the composer spoke to Robert Craft were published as Conversations with Stravinsky. They collaborated on five further volumes over the following decade.

A quintessentially cosmopolitan Russian, Stravinsky is considered by many in both the West and his native land to be the most influential composer of 20th-century music. Time magazine named him as one of the most influential people of the century.

Biography

Stravinsky was born in Oranienbaum, Russia (in 1948 renamed Lomonosov) and brought up in Saint Petersburg. His early childhood, dominated by his father and elder brother, was a mix of experience that hinted little at the cosmopolitan artist he was to become. Although his father Fyodor Stravinsky was a bass singer at the Mariinsky Theatre in Saint Petersburg, Stravinsky originally studied to be a lawyer. He switched to composition later. In 1902, at the age of 20, Stravinsky became the pupil of Nikolai Rimsky-Korsakov, probably the leading Russian composer of the time. A student effort of his, Feu d’artifice (Fireworks), was called to the attention of Sergei Diaghilev, who was impressed enough to commission Stravinsky, first for orchestrations, and then for a full-length ballet score, L’Oiseau de feu (The Firebird).

Stravinsky left Russia for the first time in 1910, going to Paris to attend the premiere of The Firebird at Ballets Russes. During his stay in the city, he composed two further works for the Ballets Russes— Petrushka (1911) and Le Sacre du printemps (The Rite of Spring) ( 1913). The ballets trace his stylistic development: from the L’oiseau de feu, whose style draws largely on Rimsky-Korsakov, to Petrushka’s emphasis on bitonality, and finally to the savage polyphonic dissonance of Le Sacre du printemps. As Stravinsky noted about the premieres, his intention was “[to send] them all to hell”. (He succeeded: The 1913 première of Le sacre du printemps was probably the most famous riot in music history, with fistfights amongst audience members and a need for police supervision of the second act).

Stravinsky displayed an inexhaustible desire to learn and explore art, literature, and life. This desire manifested itself in several of his Paris collaborations. Not only was he the principal composer for Sergei Diaghilev’s Ballets Russes, but he also collaborated with Pablo Picasso ( Pulcinella, 1920), Jean Cocteau (Oedipus Rex, 1927) and George Balanchine (Apollon Musagete, 1928).

Pulcinella in 1920. Picasso took the opportunity to make several sketches of the composer. Stravinsky and Pablo Picasso collaborated onin 1920. Picasso took the opportunity to make several sketches of the composer.

Relatively short of stature and not conventionally handsome, Stravinsky was nevertheless photogenic, as many pictures show. He was still young when, on 23 January 1906, he married his cousin Katerina Nossenko, whom he had known since early childhood. Their marriage endured for 33 years, but the true love of his life, and later his partner until his death, was his second wife Vera de Bosset (1888-1982). Although a notorious philanderer (even rumoured to have affairs with high-class partners such as Coco Chanel), Stravinsky was also a family man who devoted considerable amounts of his time and expenditure to his sons and daughters. One of his sons, Soulima Stravinsky, was also a composer, but is little known compared to his father.

When Stravinsky met Vera in the early 1920s, she was married to the painter and stage designer Serge Sudeikin, but they soon began an affair which led to her leaving her husband. From then until Katerina’s death from cancer in 1939, Stravinsky led a double life, spending some of his time with his first family and the rest with Vera. Katerina soon learned of the relationship and accepted it as inevitable and permanent. After Katerina’s death, Stravinsky and Vera were married in Bedford, MA, USA, on 9 March 1940. They had gone to the USA from France (Stravinsky in 1939, Vera in 1940) to escape World War II.

Patronage too was never far away. In the early 1920s, Leopold Stokowski was able to give Stravinsky regular support through a pseudonymous “benefactor”. The composer was also able to attract commissions: most of his work from The Firebird onwards was written for specific occasions and paid for generously.

Stravinsky proved adept at playing the part of “man of the world”, acquiring a keen instinct for business matters and appearing relaxed and comfortable in many of the world’s major cities. Paris, Venice, Berlin, London and New York City all hosted successful appearances as pianist and conductor. Most people who knew him through dealings connected with performances spoke of him as polite, courteous and helpful. For example, Otto Klemperer, who knew Arnold Schoenberg well, said that he always found Stravinsky much more co-operative and easy to deal with. At the same time, he had a marked disregard for those he perceived to be his social inferiors: Robert Craft was embarrassed by his habit of tapping a glass with a fork and loudly demanding attention in restaurants.

Eventually Stravinsky’s music was noticed by Serge Diaghilev, the director of the Ballets Russes in Paris. He commissioned Stravinsky to write a ballet for his theatre, and Stravinsky traveled to Paris in 1911. That ballet ended up being the famous L’Oiseau de Feu. However, because of World War I, he moved to neutral Switzerland in 1914. He returned to Paris in 1920 to write more ballets, as well as many other works. He moved to the United States in 1939 and became a naturalized citizen in 1945. He continued to live in the United States until his death in 1971. Stravinsky had adapted to life in France, but moving to America at the age of 58 was a very different prospect. For a time, he preserved a ring of emigré Russian friends and contacts, but eventually realized that this would not sustain his intellectual and professional life in the US. When he planned to write an opera with W. H. Auden, the need to acquire more familiarity with the English-speaking world coincided with his meeting the conductor and musicologist Robert Craft. Craft lived with Stravinsky until his death, acting as interpreter, chronicler, assistant conductor and factotum for countless musical and social tasks. Another well-known musician that was constantly his understudy was Warren Zevon who was a regular visitor to Stravinsky’s home where he, along with Craft, would study music.

Stravinsky’s taste in literature was wide, and reflected his constant desire for new discoveries. The texts and literary sources for his work began with a period of interest in Russian folklore, progressed to classical authors and the Latin liturgy, and moved on to contemporary France ( André Gide, in Persephone) and eventually English literature, including Auden, T. S. Eliot and medieval English verse. At the end of his life, he was even setting Hebrew scripture in Abraham and Isaac.

In 1962, he accepted an invitation to return to Russia for a series of concerts, but remained an émigré firmly based in the West.

Grave of Stravinsky in San Michele

He died at the age of 88 in New York City and was buried in Venice on the cemetery island of San Michele. His grave is close to the tomb of his long-time collaborator Diaghilev. Stravinsky’s life had encompassed most of the 20th century, including many of its modern classical music styles, and he influenced composers both during and after his lifetime. He has a star on the Hollywood Walk of Fame at 6340 Hollywood Boulevard.

Stylistic periods

Most of Stravinsky’s compositions may be placed into one of the three stylistic periods into which his career may be roughly divided.

The Russian period

The first of Stravinsky’s major stylistic periods (excluding some early minor works) was inaugurated by the three ballets he composed for Diaghilev. The ballets have several shared characteristics: They are scored for extremely large orchestras; they use Russian folk themes and motifs; and they bear the mark of Rimsky-Korsakov’s imaginative scoring and instrumentation.

The first of the ballets, L’Oiseau de feu, is notable for its unusual introduction (triplets in the low basses) and sweeping orchestration. Petrushka, too, is distinctively scored and the first of Stravinsky’s ballets to draw on folk mythology. But it is the third ballet, The Rite of Spring, that is generally considered the apotheosis of Stravinsky’s “Russian Period”. Here, the composer draws on the brutalism of pagan Russia, reflecting these sentiments in roughly-drawn, stinging motifs that appear throughout the work. There are several famous passages in the work, but two are of particular note: the opening theme played on a bassoon with notes at the very top of its register, almost out of range; and the thumping, off-kilter eighth-note motif played by strings and accented by horn on off-rhythms (See Le sacre du printemps (The Rite of Spring) for a more detailed account of this work).

Other pieces from this period include: Renard (1916), Histoire du soldat (A Soldier’s Tale) (1918), and Les Noces (The Wedding) (1923).

The Neo-Classical period

The next phase of Stravinsky’s compositional style, slightly overlapping the first, is marked by two works: Pulcinella 1920 and the Octet (1923) for wind instruments. Both of these works feature what was to become a hallmark of this period; that is, Stravinsky’s return, or “looking back”, to the classical music of Mozart and Bach and their contemporaries. This ” neo-classical” style involved the abandonment of the large orchestras demanded by the ballets. In these new works, written roughly between 1920 and 1950, Stravinsky turns largely to wind instruments, the piano, and choral and chamber works. The Symphonies of Wind Instruments and Symphony of Psalms are among the finest works ever composed for winds.

Other works such as Oedipus Rex (1927), Apollon Musagete (1928) and the Dumbarton Oaks concerto continue this trend.

Some larger works from this period are the three symphonies: the Symphonie des Psaumes (Symphony of Psalms) (1930), Symphony in C (1940) and Symphony in Three Movements (1945). Apollon, Persephone (1933) and Orpheus (1947) also mark Stravinsky’s concern, during this period, of not only returning to Classic music but also returning to Classic themes: in these instances, the mythology of the ancient Greeks.

The pinnacle of this period is the opera The Rake’s Progress. It was completed in 1951 and, after stagings by the Metropolitan Opera in 1953, was almost ignored. It was presented by the Santa Fe Opera in its first season in 1957 with Stravinsky in attendance, the beginning of his long association with the company. This opera, written to a libretto by Auden and based on the etchings of Hogarth, encapsulates everything that Stravinsky had perfected in the previous 20 years of his neo-classic period. The music is direct but quirky; it borrows from classic tonal harmony but also interjects surprising dissonances; it features Stravinsky’s trademark off-rhythms; and it hearkens back to the operas and themes of Monteverdi, Gluck and Mozart.

After the opera’s completion, Stravinsky never wrote another neo-classic work but instead began writing the music that came to define his final stylistic change.

The Serial period

Only after the death of Arnold Schoenberg in 1951 did Stravinsky begin using dodecaphony, the twelve-tone system which Schoenberg had devised, in his works. Stravinsky was aided in his understanding of, or even conversion to, the twelve-tone method by his confidant and colleague, Robert Craft, who had long been advocating the change. The next fifteen years were spent writing the works in this style.

Stravinsky first began to experiment with the twelve-tone technique in smaller vocal works such as the Cantata (1952), Three Songs from Shakespeare (1953) and In Memoriam Dylan Thomas (1954). Canticum Sacrum (1955) is his first piece to contain a movement entirely based on a tone row. He later began expanding his use of dodecaphony in works often based on biblical texts, such as Threni (1958), A Sermon, a Narrative, and a Prayer (1961), and The Flood (1962).

An important transitional composition of this period of Stravinsky’s work was a return to the ballet: Agon, a work for twelve dancers written from 1954 to 1957. Some numbers of Agon recollect the “white-note” tonality of the neo-classic period, while others (the Bransle Gay, e.g.) display his unique re-interpretation of serial method. The ballet is thus like miniature encyclopedia of Stravinsky, containing many of the signatures to be found throughout his compositions, whether primitivist, neo-classic, or serial: rhythmic quirkiness and experimentation, harmonic ingenuity, and a deft ear for masterly orchestration. These characteristics are what make Stravinsky’s work unique when compared with the work of contemporaneous serial composers.

Influence and innovation

Stravinsky’s work embraced multiple compositional styles, revolutionized orchestration, spanned several genres, practically reinvented ballet form and incorporated multiple cultures, languages and literatures. As a consequence, his influence on composers both during his lifetime and after his death was, and remains, considerable.

Compositional innovations

Stravinsky began re-thinking his use of the motif and ostinato as early as The Firebird ballet, but his use of these elements reached its full flowering in The Rite of Spring.

Motivic development, that is using a distinct musical phrase that is subsequently altered and developed throughout a piece of music, has its roots in the sonata form of Mozart’s age. The first great innovator in this method was Beethoven; the famous “fate motif” which opens Fifth Symphony and reappears throughout the work in surprising and refreshing permutations is a classic example. However, Stravinsky’s use of motivic development was unique in the way he permutated his motifs. In the “Rite of Spring” he introduces additive permutations, that is, subtracting or adding a note to a motif without regard to changes in meter.

The same ballet is also notable for its relentless use of ostinati. The most famous passage, as noted above, is the eighth note ostinato of the strings accented by eight horn that occurs in the section Auguries of Spring (Dances of the Young Girls). This is perhaps the first instance in music of extended ostinato which is neither used for variation nor for accompaniment of melody. At various other times in the work Stravinsky also pits several ostinati against one another without regard to harmony or tempo, creating a pastiche, a sort of musical equivalent of a Cubist painting. These passages are notable not only for this pastiche-quality but also for their length: Stravinsky treats them as whole and complete musical sections.

Such techniques foreshadowed by several decades the minimalist works of composers such as Terry Riley and Steve Reich.

Neoclassicism

Stravinsky was not the first practitioner of the Neoclassical style; in fact, the German composer Richard Strauss might be its first and greatest example (he composed the Mozartian Der Rosenkavalier in 1910, as Stravinsky was just beginning the works of his Russian period). Others, such as Max Reger, were composing in the manner of Bach long before Stravinsky, but certainly the latter is a brilliant Neo-classical musician. The Neoclassical style would be later adopted by composers as diverse as Darius Milhaud and Aaron Copland. Sergei Prokofiev once chided Stravinsky for his Neoclassical mannerisms, though sympathetically, as Prokofiev had broken similar musical ground in his Symphony No. 1, “Classical” of 1916-17.

Stravinsky announced his new style in 1923 with the stripped-down and delicately scored Octet for winds. The clear harmonies, looking back to the Classical music era of Mozart and Bach, and the simpler combinations of rhythm and melody were a direct response to the complexities of the Second Viennese School. Stravinsky may have been preceded in these devices by earlier composers such as Erik Satie, but no doubt when Copland was composing his Appalachian Spring ballet he was taking Stravinsky as his model.

Certainly by the late 1920s and 1930s, Neoclassicism as an accepted modern genre was prevalent throughout art music circles around the world. Ironically, it was Stravinsky himself who announced the death of Neoclassicism, at least in his own work if not for the world, with the completion of his opera The Rake’s Progress in 1951. A sort of final statement for the style, the opera was largely ridiculed as too “backward looking” even by those who had lauded the new style only three decades earlier.

Quotation and pastiche

While the use of musical quotation was by no means new, Stravinsky composed pieces which distort individual works by earlier composers. An early example of this is his Pulcinella of 1920, in which he used the music of Giovanni Pergolesi as source material, at times quoting it directly and at other times reinventing it. He developed the technique further in the ballet The Fairy’s Kiss of 1928, based on the music—mostly piano pieces—of Tchaikovsky.

Later examples of distorted quotation include Stravinsky’s use of Schubert in Circus Polka (1942) and “Happy Birthday to You” in Greeting Prelude (1955).

Use of folk material

There were other composers in the early 20th century who collected and augmented their native folk music and used these themes in their work. Two notable examples are Béla Bartók and Zoltán Kodály. Yet in Le Sacre du Printemps we see Stravinsky again innovating in his use of folk themes. He strips these themes to their most basic outline, melody alone, and often contorts them beyond recognition with additive notes, inversions, diminutions, and other techniques. He did this so well, in fact, that only in recent scholarship, such as in Richard Taruskin’s Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra ISBN 0-520-07099-2, have analysts uncovered the original source material for some of the music in The Rite.

Orchestral innovations

The late 19th century and early 20th century was a time ripe with orchestral innovation. Composers such as Anton Bruckner and Gustav Mahler were well regarded for their skill at writing for the medium. They, in turn, were influenced by the expansion of the traditional classical orchestra by Richard Wagner through his use of large forces and unusual instruments.

Stravinsky continued this Romantic trend of writing for huge orchestral forces, especially in the early ballets. But it was when he started to turn away from this tendency that he began to innovate by introducing unique combinations of instruments. For example, in L’Histoire du Soldat (A Soldier’s Tale) the forces used are clarinet, bassoon, cornet, trombone, violin, double bass and percussion, a very striking combination for its time (1918). This combining of distinct timbres would become almost a cliché in post-World War II classical music. Stravinsky was the first composer to score for two contrabassoons (The Rite of Spring) amongst this work’s vast orchestral pallet.

Another notable innovation of orchestral technique that can be partially attributed to Stravinsky is the exploitation of the extreme ranges of instruments. The most famous passage is the opening of the Rite of Spring where Stravinsky uses the extreme reaches of the bassoon to simulate the symbolic “awakening” of a spring morning.

It must also be noted that composers such as Anton Webern, Alban Berg and Arnold Schoenberg were also exploring some of these orchestral and instrumental techniques in the early 20th century. Yet their influence on succeeding generations of composers was equaled if not exceeded by that of Stravinsky.

Criticism

Erik Satie wrote an article about Igor Stravinsky, that was published in Vanity Fair (1922). Satie had met Stravinsky for the first time in 1910. Satie’s attitude towards the Russian composer is marked by deference, as can be seen from the letters he wrote him in 1922, preparing for the Vanity Fair article. With a touch of irony he concluded one of these letters “I admire you: are you not the Great Stravinsky? I am but little Erik Satie.” In the published article Satie argued that measuring the “greatness” of an artist by comparing him to other artists, as if speaking about some “truth”, is illusory: every piece of music should be judged on its own merits, not by comparing it to the standards of other composers. That was exactly what Jean Cocteau had done, when commenting deprecatingly on Stravinsky in his 1918 Le Coq et l’Arlequin.

“All the signs indicate a strong reaction against the nightmare of noise and eccentricity that was one of the legacies of the war…. What 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.” (Musical Times, London, October 1923, quoted in: Slonimsky, 1953).

Composer Constant Lambert (1936) described pieces such as L’Histoire du Soldat (A Soldier’s Tale) as containing “essentially cold-blooded abstraction”. He continues, saying that the “melodic fragments in L’Histoire du Soldat are completely meaningless themselves. They are merely successions of notes that can conveniently be divided into groups of three, five, and seven and set against other mathematical groups”, and the cadenza for solo drums is “musical purity…achieved by a species of musical castration”. He compares Stravinsky’s choice of “the drabbest and least significant phrases” to Gertrude Stein’s: “Everday 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 book Philosophy of Modern Music (1948) Theodor Adorno calls Stravinsky an acrobat, a civil servant, a tailor’s dummy, hebephrenic, psychotic, infantile, fascist, and devoted to making money. Part of the composer’s error, in Adorno’s view, was his neo-classicism, but more important was his music’s “pseudomorphism of painting,” playing off of le temps espace (space) rather than le temps durée (duration) of Henri Bergson. “One trick characterizes all of Stravinsky’s formal endeavors: the effort of his music to portray time as in a circus tableau and to present time complexes as though they were spatial. This trick, however, soon exhausts itself.” His “rhythmic procedures closely resemble the schema of catatonic conditions. In certain schizophrenics, the process by which the motor apparatus becomes independent leads to infinite repetition of gestures or words, following the decay of the ego.”

List of works

Although Stravinsky is best known for his stage works, in particular his ballets, his compositions cover a diverse range of musical forms.

WORLD 4/23/14 Flashcards

etymology is the study of the origins of words

mesolithic is the middle stone age period

neolithic is the new stone age period

paleolithic is the old stone age period

rural is the area outside cities or the country

urban is the area that makes up a city.

6 Composers Who Immigrated to the United States and Called Los Angeles Home

Ever since its founding, the United States of America has been a melting pot of peoples. According to the Pew Research Center, more than 41 million immigrants lived in the U.S. as of 2013. One of the nation’s largest immigration waves came between 1880 and 1920, when more than 20 million people arrived on American shores. Following the Great Depression and World War II, the foreign-born population in the U.S. actually decreased from 11.6% to 6.9% percent of the total population, according to the U.S. Census Bureau. Yet during this period, some also came to the U.S. because of the war, including several notable composers. Here are 6 composers who came to the United States and called Los Angeles their home.

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