| Description |
1 online resource : illustrations (black and white) |
| Contents |
The emergence of Stravinsky's neoclassicism : the aesthetic underpinnings of the idea in the other arts and in recent social/political history. 1914 : Literature, art, music, and dance ; 1917 : Revolution in the arts : Burliuk's neomorphism and Stravinsky's neoclassicism ; 1920-25 : style and technique ; Commentaries by Stravinsky and others that help to define his neoclassical aesthetic ; Postlude : the classicism of models -- Stravinsky at the crossroads after the Rite. Jeu de rossignol mécanique (Performance of the Mechanical Nightingale) (1 August 1913) ; Trois pièces pour quatour à cordes, II (Three pieces for string quartet, II) ; Trois pièces faciles (Kl 4 hdg) (Three easy pieces) (4 hands), "Marche" (December 19, 1914) ; Postlude -- Stravinsky at the crossroads between primitivism and neoclassicism : Renard (Bajka) (1915-1916) and Histoire du soldat (1917-18). Original French text of Renard ; Original French text of Histoire du soldat -- Stravinsky's improvisatory style. The predictive qualities of the Étude pour pianola (1917) ; Stravinsky's appropriation of the "rag idiom" (1917) ; Stravinsky completes three works that were inspired by elements of ragtime (1918) ; The order in which the works of 1918 were completed ; The reception of these works in 1919 ; The two faces of Stravinsky's Piano-rag-music (1919) : portrait or collage? ; Stravinsky's path to abstraction : an interruption on his journey to neoclassicism -- Stravinsky's compositional process for two works completed in 1920 : Concertino and Symphonies d'instruments à vent. Order and chaos in Stravinsky's Concertino for string quartet (1920) ; Symphonies d'instruments à vent (191?-20) -- Pulcinella (1919-20), Les cinq doigts "Larghetto" (1921), and Mavra (1921-22). Pulcinella (1919-20) ; Les cinq doigts (1921) : "Larghetto" (January 31, 1921) ; Mavra (1921-22) -- Octet (1919-23), Cinq pieces monométriques (frags. 192?), Concerto for piano and winds (1923-24). Introduction ; Concerto pour piano suivi d'orchestra d'harmonie (Concerto for piano and winds) (1923-24) ; Conclusion -- Piano sonata (1924) and Serenade in A (1925). Piano sonata (1924) : vestiges of Classical sonata form are evident, even though Stravinsky claims to have avoided such restrictions ; Serenade in A for piano (1925) ; Conclusion -- Epilogue. The evolution of Stravinsky's creative genius |
| Summary |
This title traces the evolution of Stravinsky's compositional style as he searched for his own voice in the explosive musical world of the early 20th century as he responded to harsh criticisms of his work |
| Notes |
Previously issued in print: 2014 |
| Bibliography |
Includes bibliographical references and index |
| Audience |
Specialized |
| Notes |
Online resource; title from home page (viewed on September 5, 2016) |
| Subject |
Stravinsky, Igor, 1882-1971 -- Criticism and interpretation
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| SUBJECT |
Stravinsky, Igor, 1882-1971 fast |
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Stravinsky, Igor 1882-1971 gnd |
| Subject |
Neoclassicism (Music)
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Music -- 20th century.
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Music
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Neoclassicism (Music)
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Neuklassizismus
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| Genre/Form |
Criticism, interpretation, etc.
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| Form |
Electronic book
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| ISBN |
9780199367993 |
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019936799X |
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