Igor Stravinsky
Igor Stravinsky | |
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Born | Oranienbaum, Saint Petersburg, Russia | 17 June 1882
Died | 6 April 1971 New York City, US | (aged 88)
Occupations |
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Works | List of compositions |
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Igor Fyodorovich Stravinsky[a] (17 June [O.S. 5 June] 1882 – 6 April 1971) was a Russian composer and conductor with French citizenship (from 1934) and American citizenship (from 1945). He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music.
Stravinsky's father was a famous bass opera singer in Saint Petersburg, and Stravinsky grew up taking piano and music theory lessons. While studying law at the University of Saint Petersburg, he met Nikolai Rimsky-Korsakov and studied under him until his death in 1908. Stravinsky met the impresario Sergei Diaghilev soon after, who commissioned the composer to write three ballets for the Ballets Russes' Paris seasons: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913), the last of which brought him international fame after the near-riot at the premiere, and changed the way composers understood rhythmic structure.
Stravinsky's compositional career is divided into three periods: his Russian period (1913–1920), his
While many supporters were confused by Stravinsky's constant stylistic changes, later writers recognized his versatile language as important in the development of modernist music. Stravinsky's revolutionary ideas influenced composers as diverse as Aaron Copland, Philip Glass, Béla Bartók, and Pierre Boulez, who were all challenged to innovate music in areas beyond tonality, especially rhythm and form. In 1998, Time magazine named Stravinsky one of the 100 most influential people of the century. Stravinsky died of pulmonary edema on 6 April 1971 in New York City, having left six memoirs written with his friend and assistant Robert Craft, as well as an earlier autobiography and a series of lectures.
Life
Early life in Russia, 1882–1901
Igor Fyodorovich Stravinsky was born in Oranienbaum, Russia—a town now called Lomonosov, about fifty kilometers west of Saint Petersburg—on 17 June [O.S. 5 June] 1882.[1][2] His mother, Anna Kirillovna Stravinskaya (née Kholodovsky), came from a family of landowning noblemen, and was educated in singing and piano.[3][4] His father, Fyodor Ignatyevich Stravinsky, was a famous bass at the Mariinsky Theatre in Saint Petersburg, descended from a line of Polish landowners.[4][5] The name "Stravinsky" was of Polish origin, deriving from the Strava river in eastern Poland. The family was originally called the "Soulima-Stravinsky"s, bearing the likely-German Soulima coat of arms, but "Soulima" was dropped after Russia's annexation during the partitions of Poland.[6][7]
Igor Stravinsky was born in Oranienbaum while his family vacationed there for the summer;[8][9] the family's primary residence was an apartment along the Kryukov Canal in central Saint Petersburg, near the Mariinsky Theatre. He was baptized hours after birth and joined to the Russian Orthodox Church in St. Nicholas Cathedral.[5] Constantly in fear of his hot-tempered father and indifferent towards his mother, Igor lived there for the first 27 years of his life with three siblings: Roman and Yury, his older siblings who irritated him immensely, and Gury, his close younger brother with whom he found "the love and understanding denied to us by our parents".[10][5] Igor was educated by the families' governess until age eleven, when he began attending the Second Saint Petersburg Gymnasium, a school he recalled hating because he had few friends.[11][12]
From age nine, Stravinsky was taught piano privately.[13] He later wrote that his parents saw no musical talent in him due to his lack of technical skills;[14] the young pianist frequently improvised instead of practicing assigned pieces.[15] Stravinsky's excellent sight-reading skill prompted him to frequently read vocal scores from his father's vast personal library.[4][16] At around age ten, he began regularly attending performances at the Mariinsky Theatre, where he was introduced to Russian repertoire as well as Italian and French opera;[17] by sixteen, he attended rehearsals at the theater five or six days a week.[13] By age fourteen, Stravinsky mastered Mendelssohn's Piano Concerto No. 1, and at age fifteen finished a piano reduction of a string quartet by Alexander Glazunov.[18][19]
Higher education, 1901–1909
Student compositions
Despite his musical passion and ability, Stravinsky's parents expected he study law at the
After Stravinsky's father died in 1902 and the young composer became more independent, he became increasingly involved in Rimsky-Korsakov's circle of artists.
After the events of
First marriage
In August 1905, Stravinsky announced his engagement to
From our first hour together we both seemed to realize that we would one day marry—or so we told each other later. Perhaps we were always more like brother and sister. I was a deeply lonely child and I wanted a sister of my own. Catherine, who was my first cousin, came into my life as a kind of long-wanted sister ... We were from then until her death extremely close, and closer than lovers sometimes are, for mere lovers may be strangers though they live and love together all their lives ... Catherine was my dearest friend and playmate ... and from then until we grew into our marriage.[32]
The two had grown close during family trips, encouraging each other's interest in painting and drawing, swimming together often, going on wild raspberry picks, helping build a tennis court, playing piano duet music, and later organizing group readings with their other cousins of books and political tracts from Fyodor Stravinsky's personal library.[33] In July 1901, Stravinsky expressed infatuation with Lyudmila Kuxina, Nosenko's best friend, but after the self-described "summer romance" had ended, Nosenko and Stravinsky's relationship began developing into a furtive romance.[34] Between their intermittent family visits, Nosenko studied painting at the Académie Colarossi in Paris.[35] The two married on 24 January 1906, at the Church of the Annunciation five miles north from Saint Petersburg – because marriage between first cousins was banned, they procured a priest who did not ask their identities, and the only guests present were Rimsky-Korsakov's sons.[36] The couple soon had two children: Théodore, born in 1907, and Ludmila, born the following year.[37]
After finishing the many revisions of the Symphony in E-flat in 1907, Stravinsky wrote Faun and Shepherdess, a setting of three
International fame, 1909–1920
Ballets for Diaghilev
In 1898, the
As the Ballets Russes faced financial issues, Diaghilev wanted a new ballet with distinctly Russian music and design, something that had recently become popular with French and other Western audiences (likely due to the glamorous charm of The Five's music, according to the musicologist Richard Taruskin); Diaghilev's company settled on the subject of the mythical Firebird.[48][49] Diaghilev asked multiple composers to write the ballet's score, including Lyadov and Nikolai Tcherepnin, but after none committed to the project,[50] the impresario turned to the 27-year-old Stravinsky, who gladly accepted the task.[51][52] During the ballet's production, Stravinsky became close with Diaghilev's artistic circle, who were impressed by his enthusiasm to learn more about non-musical art forms.[51] The Firebird premiered in Paris on 25 June 1910 to widespread critical acclaim, making Stravinsky an overnight sensation.[53][54] Many critics praised the composer's alignment with Russian nationalist music.[55] Stravinsky later recollected that after the premiere and subsequent performances, he met many figures in the Paris art scene; Debussy was brought on stage after the premiere and invited Stravinsky to dinner, beginning a lifelong friendship between the two composers.[d][54][58]
The Stravinsky family moved to
While composing The Firebird, Stravinsky had an idea for a work about "a solemn pagan rite: sage elders, seated in a circle, watched a young girl dance herself to death". He immediately shared the idea with
Illness and wartime collaborations
Soon after, Stravinsky was admitted to a hospital for
In early July 1914, while his family resided in Switzerland near the sick Yekaterina Stravinsky, the composer traveled to Russia to retrieve texts for his next work, a ballet-cantata depicting
Stravinsky's income from performance
France, 1920–1939
Turn towards neoclassicism
After the war ended, Stravinsky decided that his residence in Switzerland was too far from Europe's musical activity, and briefly moved his family to
In 1921, Stravinsky signed a contract with the player piano company Pleyel to create piano roll arrangements of his music.[90] He received a studio at their factory on the Rue Rochechouart, where he reorchestrated Les noces for a small ensemble including player piano. The composer transcribed many of his major works for the mechanical pianos, and he worked at the Rochechouart factory until 1933, long after the player piano went out of fashion.[88][91] Stravinsky signed another contract in 1924, this time with the Aeolian Company in London, producing rolls that included comments about the work by Stravinsky that were engraved into the rolls.[92] He stopped working with player pianos in 1930 when the Aeolian Company's London branch was dissolved.[91]
The interest in Pushkin shared by Stravinsky and Diaghilev led to
Religious crisis and international touring
The Stravinsky family moved again in September 1924 to
In 1925, Stravinsky asked the French writer and artist
A new commission for a ballet from
Work with Dushkin
While touring in Germany, Stravinsky visited his publisher's home and met the violinist
After the short run of
United States, 1939–1971
Adjustment to America and commercial works
Upon arriving in the United States, Stravinsky resided with Edward W. Forbes, the director of the Charles Eliot Norton Lectures series at Harvard University. The composer was contracted to deliver six lectures for the series, beginning in October 1939 and ending in April 1940.[139][140][141] The lectures, written with assistance from Pyotr Suvchinsky and Alexis Roland-Manuel, were published in French under the title Poétique musicale (Poetics of Music) in 1941, with an English translation following in 1947.[142][143] Between lectures, Stravinsky finished the Symphony in C and toured across the country, meeting de Bosset upon her arrival in New York. Stravinsky and de Bosset finally married on 9 March 1940 in Bedford, Massachusetts, and when the lectures were finished, they moved to Los Angeles and applied for American naturalization.[144]
Money became scarce as the war stopped the composer from receiving European royalties, making him take up numerous conducting engagements and compose commercial works for the entertainment industry, including the Scherzo à la russe for Paul Whiteman and the Scènes de ballet for a Broadway revue.[145][146] Some discarded film music made it into larger works, as with the war-inspired Symphony in Three Movements, the middle movement of which used music from an unused score for The Song of Bernadette (1943).[147] The Stravinsky couple's poor English led to the formation of a predominantly European social circle and home life: the estate staff consisted of mostly Russians, and frequent guests included musicians like Joseph Szigeti, Arthur Rubinstein, and Sergei Rachmaninoff.[148][145] However, Stravinsky eventually joined popular Hollywood circles, attending parties with celebrities and becoming closely acquainted with European authors like Aldous Huxley, W. H. Auden, Christopher Isherwood, and Dylan Thomas.[149][150]
In 1945, Stravinsky signed a contract with British publishing house Boosey & Hawkes, who agreed to publish all his future works. Additionally, Stravinsky revised many of his older works and had Boosey & Hawkes publish the new editions to re-copyright his older works.[151] Around the 1948 premiere of another Balanchine collaboration, the ballet Orpheus, Stravinsky met the young conductor Robert Craft in New York; Craft had asked Stravinsky to explain the revision of the Symphonies of Wind Instruments for an upcoming concert. Stravinsky quickly befriended Craft, inviting the conductor to Los Angeles, and Craft soon became Stravinsky's assistant, collaborator, and amanuensis until the composer's death.[o][145][153]
Turn towards serialism
As Stravinsky became more familiar with English, he developed the idea to write an English-language opera based on a series of paintings by 18th-century artist
During the 1950s, Stravinsky continued touring extensively across the world, occasionally returning to Los Angeles to compose.[161] In 1953, Stravinsky agreed to compose a new opera with a libretto by Dylan Thomas, but development on the project came to a sudden end following Thomas's death in November of that year. Stravinsky completed In Memoriam Dylan Thomas, his first work fully based on the serial twelve-tone technique, the following year.[158][162] The 1956 cantata Canticum Sacrum premiered at the International Festival of Contemporary Music in Venice, inspiring Norddeutscher Rundfunk to commission the musical setting Threni in 1957.[163] With the Balanchine ballet Agon, Stravinsky fused neoclassical themes with the twelve-tone technique, and Threni showed his full shift towards use of tone rows.[158] In 1959, Craft interviewed Stravinsky for an article titled Answers to 35 Questions, in which Stravinsky sought to correct myths surrounding him and discuss his relationships with other artists. The article was later expanded into a book, and over the next four years, three more interview-style books were published.[p][164]
Continued international tours brought Stravinsky to
Final works and death
Stravinsky turned back towards biblical themes for many of his final works, notably in the 1961 chamber cantata A Sermon, a Narrative and a Prayer, the 1962 musical television production The Flood, the 1963 Hebrew cantata Abraham and Isaac, and the 1966 Requiem Canticles, the last of which was his final major composition.[q][173][174] Between touring, the composer worked relentlessly to devise new tone rows, even working on toilet paper from airplane lavatories.[175] The intense touring schedule began taking a toll on the elderly composer; January 1967 marked his last recording session, and his final public concert came the following May. After spending the autumn of 1967 in the hospital due to bleeding stomach ulcers and thrombosis, Stravinsky returned to domestic touring in 1968 (only appearing as an audience member) but stopped composing due to his gradual decline in physical health.[176][177]
In his final years, the Stravinskys and Craft moved to New York to be closer to medical care, and the composer's travel was limited to visiting family in Europe.[178] Soon after being dismissed from Lenox Hill Hospital after contracting pulmonary edema, the Stravinskys moved to a new apartment on Fifth Avenue, where the composer died at home on 6 April at the age of 88.[179][180] A funeral service was held three days later at Frank E. Campbell Funeral Chapel.[181] After a service at Santi Giovanni e Paolo with a performance of the Requiem Canticles conducted by Craft, Stravinsky was buried on the cemetery island of San Michele in Venice, several yards from the tomb of Sergei Diaghilev.[173][182]
Music
Much of Stravinsky's music is characterized by short and extremely sharp
Student works, 1898–1907
Stravinsky's time before meeting Diaghilev was spent learning from Rimsky-Korsakov and his collaborators.[184] Only three works survive from before Stravinsky met Rimsky-Korsakov in August 1902: "Tarantella" (1898), Scherzo in G minor (1902), and The Storm Cloud, the first two being works for piano and the last for voice and piano.[189][190] Stravinsky's first assignment from Rimsky-Korsakov was the four-movement Piano Sonata in F♯ minor, which was also his first work to be performed in public.[191][192] Rimsky-Korsakov often gave Stravinsky the task of orchestrating various works to allow him to analyze the works' form and structure.[193] A number of Stravinsky's student compositions were performed at Rimsky-Korsakov's gatherings at his home; these include a set of bagatelles, a "chanson comique", and a cantata, showing the use of classical musical techniques that would later define Stravinsky's neoclassical period.[193] The musicologist Stephen Walsh described this time in Stravinsky's musical career as "aesthetically cramped" due to the "cynical conservatism" of Rimsky-Korsakov and his music.[194] Rimsky-Korsakov thought the Symphony in E-flat (1907) was swayed too much by Glazunov's style, and disliked the modernist influence on Faun and Shepherdess (1907);[195] however, critics found the works to actually stick too close to his teacher's traditional style.[196] Many of Stravinsky's early works showed influence from French composers as well, notably in the minimal use of large doublings and different combinations of tone colors.[197]
First three ballets, 1910–1913
Stravinsky's neoclassical period ended in 1951 with the opera The Rake's Progress.[230][231] Taruskin described the opera as "the hub and essence of 'neo-classicism'". He points out how the opera contains numerous references to Greek mythology and other operas like Don Giovanni and Carmen, but still "embody[s] the distinctive structure of a fairy tale". Stravinsky was inspired by the operas of Mozart in composing the music, particularly Così fan tutte,[s] but other scholars also point out influence from Handel, Gluck, Beethoven, Schubert, Weber, Rossini, Donizetti, and Verdi.[233][234] The Rake's Progress has become an important work in opera repertoire, being "[more performed] than any other opera written after the death of Puccini", according to Taruskin.[235]
Serial period, 1954–1968
In the 1950s, Stravinsky began using serial compositional techniques, such as the twelve-tone technique originally devised by Arnold Schoenberg.[236] Noble wrote that this time was "the most profound change in Stravinsky's musical vocabulary", partly due to Stravinsky's newfound interest in the music of the Second Viennese School after meeting Robert Craft.[188] The composer's treatment of the twelve-tone technique was unique: whereas Schoenberg's technique was very strict, disallowing repetitions of a tone row until it was complete, Stravinsky repeated notes freely, even separating the row into cells and reordering the notes. In addition, his serial period's orchestration style became dark and bass-heavy, with winds and piano frequently using their lowest registers.[158]
Stravinsky first experimented with non-twelve-tone serial techniques in small-scale works such as the Cantata (1952), the Septet (1953) and Three Songs from Shakespeare (1953). The first of his compositions fully based on such techniques was In Memoriam Dylan Thomas (1954). Agon (1954–57) was the first of his works to include a twelve-tone series and the second movement from Canticum Sacrum (1956) was the first piece to contain a movement entirely based on a tone row.[162] Agon's unique tonal structure was significant to Stravinsky's serial music; the work begins diatonic, moves towards full 12-tone serialism in the middle, and returns to diatonicism in the end.[237] Stravinsky returned to sacred themes in works such as Canticum Sacrum, Threni (1958), A Sermon, a Narrative and a Prayer (1961), and The Flood (1962). Stravinsky used a number of concepts from earlier works in his serial pieces; for example, the voice of God being two bass voices in homophony seen in The Flood was previously used in Les noces.[237] Stravinsky's final large-scale work, the Requiem Canticles (1966), made use of a complex four-part array of tone rows throughout, showing the evolution of Stravinsky's serialist music.[237][238] Noble described the Requiem Canticles as "a distillation both of the liturgical text and of his own musical means of setting it, evolved and refined through a career of more than 60 years".[239]
Influence from other composers can be seen throughout this period. Stravinsky was heavily influenced by Schoenberg, not only in his use of the twelve-tone technique, but also in the distinctly "Schoenbergian" instrumentation of the Septet and the similarities between Schoenberg's Klangfarbenmelodie and Stravinsky's Variations.[188][237] Stravinsky also used a number of themes found in works by Benjamin Britten,[237] later commenting about the "many titles and subjects [I have shared] with Mr. Britten already".[240] In addition, Stravinsky was very familiar with the works of Anton Webern, being one of the figures who inspired Stravinsky to consider serialism a possible form of composition.[241]
Artistic influences
Stravinsky worked with some of the most famous artists of his time, many of whom he met after achieving international success with The Firebird.[54][185] Diaghilev was one of the composer's most prominent artistic influences, having introduced him to composing for the stage and bringing him international fame with his first three ballets.[242] Through the Ballets Russes and Diaghilev, Stravinsky worked with figures like Vaslav Nijinsky, Léonide Massine,[185] Alexandre Benois,[185] Michel Fokine, and Léon Bakst.[42] The composer's interest in art propelled him to develop a strong relationship with Picasso, whom he met in 1917.[243] In the years following, 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,[244] and a short sketch of clarinet music by Stravinsky.[245] This exchange was essential to establish how the artists would approach their collaborative space in Ragtime and Pulcinella.[246][247]
Stravinsky displayed a taste in literature that was wide and reflected his constant desire for new discoveries.[248] The texts and literary sources for his work began with interest in Russian folklore.[186][249] After moving to Switzerland in 1914, Stravinsky began gathering folk stories from numerous collections, which were later used in works like Les noces, Renard, Pribaoutki, and various songs.[77] Many of Stravinsky's works, including The Firebird, Renard, and L'Histoire du soldat were inspired by Alexander Afanasyev's famous collection Russian Folk Tales.[213][250][251] Collections of folk music influenced Stravinsky's music; numerous melodies from The Rite of Spring were found in an anthology of Lithuanian folk songs.[252]
An interest in the
Stravinsky worked with many authors throughout his career. He first worked with the Swiss novelist Charles F. Ramuz on L'Histoire du soldat in 1918, with whom he formed the idea and wrote the text.[217] In 1933, Ida Rubinstein commissioned Stravinsky to set music to a poem by André Gide, later becoming the melodrama Perséphone.[258] The Stravinsky-Gide collaboration was apparently tense: Gide disliked how the music did not follow the prosody of his poem and did not attend rehearsals, and Stravinsky ignored many of Gide's ideas.[259] Gide later left the project and did not attend the premiere run.[260] The story of The Rake's Progress was first conceived by Stravinsky and W. H. Auden, the latter of whom wrote the libretto with Chester Kallman.[261][262] Stravinsky befriended many other authors as well, including T.S. Eliot,[248] Aldous Huxley, Christopher Isherwood, and Dylan Thomas,[150] the last of whom Stravinsky began working with on an opera in 1953 but stopped due to Thomas's death.[263]
Legacy
Stravinsky is widely regarded as one of the greatest composers of the 20th century.
Stravinsky was noted for his distinctive use of rhythm, especially in The Rite of Spring.
Stravinsky influenced many composers and musicians.
Recordings
Stravinsky's need for money during the World Wars led him to sign many contracts with record companies to conduct his music.[285] His early exposure to player piano technology guided his view that records were far inferior to live performance but acted as historical documentation of how his works should be performed.[286][287] As a result, Stravinsky left a massive archive of recordings of his own music, seldom recording music by other composers.[288][289] 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, the Royal Philharmonic Orchestra, and the Bavarian Radio Symphony Orchestra.[290] Stravinsky received five Grammy Awards and eleven total nominations for his recordings, and three of his albums were inducted into the Grammy Hall of Fame.[291][292] He was posthumously awarded the Grammy Lifetime Achievement Award in 1987.[293]
During his lifetime, Stravinsky appeared on several telecasts and documentaries.[294] The first, A Conversation with Igor Stravinsky, was released in 1957 by NBC and produced by Robert Graff, who later commissioned and produced The Flood. The interview-like format later influenced the various volumes Craft wrote with Stravinsky.[295] The 1965 National Film Board of Canada documentary Stravinsky, directed by Roman Kroitor and Wolf Koenig, followed Stravinsky conducting the CBC Symphony Orchestra in a recording of the Symphony of Psalms, with anecdotal interviews interspersed throughout.[296] The 1966 CBS documentary Portrait of Stravinsky took the composer back to the Théâtre des Champs-Élysées (where The Rite of Spring premiered) and to his old home in Clarens, Switzerland.[297] Other documentaries captured the collaborative process between Balanchine and Stravinsky.[298]
Writings
Stravinsky published a number of books throughout his career. 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".[299] 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.[u] In 1959, several interviews between the composer and Craft were published as Conversations with Igor Stravinsky, which was followed by a further five volumes over the following decade.[300]
Books and articles are listed in Appendix E of Eric Walter White's Stravinsky: The Composer and His Works and
Books
- Stravinsky, Igor (1936). Chronicle of My Life. London: Gollancz. ISBN 978-0-393-00161-7.
- — (1947). Poetics of Music in the Form of Six Lessons: The Charles Eliot Norton Lectures for 1939–1940. Harvard University Press. ISBN 978-0-674-67856-9.
- —; Craft, Robert (1959). Conversations with Igor Stravinsky. Doubleday. ISBN 978-0-520-04040-3.
- —; — (1960). Memories and Commentaries. Doubleday. ISBN 978-0-520-04402-9. Reprinted by University of California Press, 1981.
- —; — (1962). Expositions and Developments. Faber and Faber. ISBN 9780520044036. Reprinted by University of California Press, 1981.
- —; — (1963). Dialogues and a Diary. Doubleday. OCLC 896750. Reprinted by Faber and Faber, 1986.
- —; — (1966). Themes and Episodes. Alfred A. Knopf. OCLC 611277.
- —; — (1969). Retrospectives and Conclusions. Alfred A. Knopf. OCLC 896809.
- —; — (1972). Themes and Conclusions. Faber and Faber. This is a one-volume edition of Themes and Episodes (1966) and Retrospectives and Conclusions (1969) as revised by Igor Stravinsky in 1971. ISBN 978-0-571-08308-4. Reprinted by University of California Press, 1982.
Articles
- Stravinsky, Igor (29 May 1913). Montjoie! (in French). No. 2. At DICTECO
- — (15 May 1921). "Les Espagnols aux Ballets Russes" [The Spaniards at the Ballets Russes]. Comœdia (in French). At DICTECO
- — (18 October 1921). "The Genius of Tchaikovsky". The Times (Open Letter to Letter to Diaghilev). No. 42854. London.
- — (18 May 1922). "Une lettre de Stravinsky sur Tchaikovsky" [A Letter from Stravinsky on Tchaikovsky]. Le Figaro (in French). At DICTECO
- — (January 1924). "Some Ideas about my Octuor". The Arts. Vol. VI, no. 1. Brooklyn. (in White 1979, pp. 575–577)
- — (1924). "O mych ostatnich utworach" [About my last works]. The Muzyka (in Polish). No. 1. pp. 15–17.
- — (1927). "Kilka uwag o tzw. neoklasycyzmie" [A few remarks about so-called neoclassicism]. The Muzyka (in Polish). No. 12. pp. 563–566.
- — (December 1927). "Avertissement... a Warning". The Dominant. London. (in White 1979, p. 577)
- — (29 April 1934). "Igor Strawinsky nous parle de 'Perséphone'" [Igor Stravinsky tells us about Persephone]. Excelsior (in French). At DICTECO
- — (1934). "Moja spowiedź muzyczna" [My Musical Confession]. The Muzyka (in Polish). No. 2. pp. 56–57.
- — (15 December 1935). "Quelques confidences sur la musique" [Some secrets about music]. Conferencia (in French). Paris. At DICTECO
- — (28 January 1936). "Ma candidature à l'Institut" [My application to the Institute]. Jour (in French). Paris.
- — (1940). Pushkin: Poetry and Music. OCLC 1175989080.
- —; The Atlantic Monthly. pp. 33–36.
References
Notes
- ^ Pronunciation: /strəˈvɪnski/; Russian: Игорь Фёдорович Стравинский, IPA: [ˈiɡərʲ ˈfʲɵdərəvʲɪtɕ strɐˈvʲinskʲɪj]
- ^ In his 1936 autobiography, Stravinsky described his admiration for Rimsky-Korsakov and Alexander Glazunov, both leading figures of Russian music at the time: "I was specially drawn to [Rimsky-Korsakov] by his melodic and harmonic inspiration, which then seemed to me full of freshness; to [Glazunov] by his feeling for symphonic form; and to both by their scholarly workmanship. I need hardly stress how much I longed to attain this ideal of perfection in which I really saw the highest degree of art; and with all the feeble means at my disposal I assiduously strove to imitate them in my attempts at composition."[23][24]
- ^ The Symphony in E-flat was designated opus 1, though Stravinsky's inconsistent use of opus numbers makes them futile.[28][29]
- ^ After the premiere of Stravinsky's The Rite of Spring in 1913, Debussy expressed misgivings about the young composer. Saint-John Perse, who attended rehearsals of The Rite with Debussy, later told Stravinsky that the French composer was initially excited about the work but that "he changed when he understood that with it you had taken the attention of the new generation away from him". Though Debussy continued to insult Stravinsky with others, he never expressed this to the man himself, and a year after Debussy's death, Stravinsky discovered that the third movement of Debussy's En blanc et noir was dedicated to him.[56] Stravinsky later dedicated the Symphonies of Wind Instruments in memoriam of Debussy.[57]
- conducting (1972)
- ^ In early 1913, Stravinsky and Ravel collaborated on a completion of Mussorgsky's unfinished opera Khovanshchina as commissioned by Diaghilev, but Stravinsky's illness prevented him from attending the premiere. Later in life, Stravinsky criticized the arrangement, writing that he was opposed to rearranging the work of another artist, especially one of such prestige as Mussorgsky.[68]
- Russian revolution in 1917 made it dangerous for Stravinsky to return to Russia, and he never did except for a brief visit in 1962.[73]
- ^ Stravinsky's early works were published by Moscow-based firms, but because Russia was not a signatory to the Berne Convention on international copyright regulations, many of his works composed before gaining French citizenship in 1931 (including The Firebird) were not protected by copyright outside of Russia.[80][81]
- ^ Pulcinella's score is an arrangement of music by 18th-century Italian composers Giovanni Battista Pergolesi, Domenico Gallo, Fortunato Chelleri, and Alessandro Parisotti.[83]
- ^ The complications that arose from traveling with de Bosset drove Stravinsky to request visas "for me and my secretary, Mme Vera Sudeikina" in 1924. The two grew so close that in 1929, Stravinsky told his publisher to give de Bosset the manuscript for one of his works, as she was returning to his home soon after.[87]
- ^ Les noces was the last work Stravinsky ever wrote for the Ballets Russes, likely to due a disassociation from stage music onset by Stravinsky's religious crisis.[95]
- ^ Stravinsky's religious affiliation after moving to the United States is difficult to determine; in 1953, Life reported that he "is fairly regular in his attendance at Los Angeles's Russian Orthodox Church" but Stravinsky refuted this point in the margins of his copy.[103]
- ^ Stravinsky later looked back on their friendship with happiness, recalling in his autobiography, "He was genuinely attracted by what I was then writing, and it gave him real pleasure to produce my work... These feelings of his, and the zeal which characterized them, naturally evoked in me a reciprocal sense of gratitude, deep attachment, and admiration for his sensitive comprehension, his ardent enthusiasm, and the indomitable fire with which he put things into practice."[116]
- ^ A notable example was the June 1939 issue of La Revue musicale, which featured an article by ballet master Serge Lifar that began by praising Stravinsky's genius but turned to criticizing his music as unfit for dance and "positively anti-dance". Stravinsky's colleagues were agitated by Lifar's article, threatening to disallow publication of their material in La Revue musicale's issue, but nothing happened in order to prevent a scandal.[136]
- ^ Many believed that Craft manipulated Stravinsky in the composer's later years. Darius Milhaud, an old friend of Stravinsky's, later joked that "no one can get near [Stravinsky] these days", and Stravinsky's children believed that Craft used Vera Stravinsky to execute his wishes.[152][153]
- ^ Craft's heavy editing on these volumes, combined with Stravinsky's weak memory of early-life events, made the books unreliable and factually inaccurate.[158]
- ^ See: "Table I: Folk and Popular Tunes in Petrushka" Taruskin (1996, pp. I: 696–697).
- ^ Stravinsky and Auden attended a performance of Così fan tutte while they wrote the libretto, and the composer later cited Mozart's opera as an influence on The Rake's Progress.[232]
- ^ This significance was evident when parts of The Rite of Spring were included on the Voyager Golden Records.[274]
- ^ The names of uncredited collaborators are given in Walsh 2001.
Citations
- ^ Walsh 1999, p. 3.
- ^ Walsh 2001.
- ^ Walsh 1999, p. 6.
- ^ a b c Walsh 2001, 1. Background and early years, 1882–1905.
- ^ a b c White 1979, p. 19.
- ^ Walsh 1999, 6–7.
- ^ Stravinsky & Craft 1960, p. 17.
- ^ Stravinsky & Craft 1960, p. 19.
- ^ White 1997, p. 13.
- ^ Stravinsky & Craft 1960, p. 20–21.
- ^ Walsh 1999, p. 17.
- ^ Walsh 1999, p. 25.
- ^ a b Walsh 1999, p. 24.
- ^ Stravinsky & Craft 1960, p. 21–22.
- ^ Stravinsky 1936, p. 5.
- ^ Stravinsky 1936, p. 5–6.
- ^ Walsh 1999, p. 27–29.
- ^ Dubal 2003, p. 564.
- ^ White 1979, p. 24.
- ^ Dubal 2003, p. 565.
- ^ Stravinsky & Craft 1960, p. 27.
- ^ a b c d e f g Walsh 2001, 2. Towards 'The Firebird', 1902–09.
- ^ Stravinsky 1936, p. 11.
- ^ White 1997, p. 14.
- ^ White 1997, p. 15.
- ^ White 1979, p. 26.
- ^ a b White 1997, p. 16.
- ^ a b White 1997, p. 18.
- ^ White 1979, p. 192.
- ^ Stravinsky 1936, p. 17–18, 20.
- ^ Stravinsky 1936, p. 20.
- ^ Stravinsky & Craft 1960, p. 43.
- ^ Walsh 1999, p. 43–44, 47, 56.
- ^ Walsh 1999, p. 45.
- ^ Strawinsky & Strawinsky 2004, p. 64.
- ^ Boucourechliev 1987, p. 36.
- ^ White 1979, p. 29.
- ^ Stravinsky & Craft 1960, p. 58–59.
- ^ Walsh 1999, p. 114.
- ^ Stravinsky & Craft 1960, p. 59.
- ^ a b Bowlt 2020, pp. 61–62.
- ^ a b c White 1979, p. 32.
- ^ Garafola 1989, p. 26.
- ^ Bowlt 2020, pp. 65–66.
- ^ White 1997, p. 23.
- ^ Walsh 1999, pp. 122, 126.
- ^ White 1979, p. 32–33.
- ^ Taruskin 1996, p. 24, 556–559.
- ^ Caddy 2020, p. 79.
- ^ Taruskin 1996, pp. 574–576.
- ^ a b White 1997, p. 24.
- ^ Walsh 1999, p. 135.
- ^ Savenko 2013, p. 256.
- ^ a b c d e White 1979, p. 35.
- ^ Walsh 1999, p. 143.
- ^ White 1979, p. 72–73.
- ^ Cross 2013, p. 5.
- ^ Stravinsky 1936, p. 30.
- ^ a b c Stravinsky 1936, p. 31.
- ^ Walsh 1999, p. 148.
- ^ Boucourechliev 1987, p. 52.
- ^ White 1997, p. 35.
- ^ White 1979, p. 34–35.
- ^ a b c d Walsh 2001, 3. The early Diaghilev ballets, 1910–14.
- ^ White 1997, p. 38.
- ^ White 1997, p. 40–41.
- ^ White 1997, p. 42–43.
- ^ White 1979, pp. 544–545.
- ^ Stravinsky 1936, p. 50.
- ^ White 1979, p. 47.
- ^ V. Stravinsky & Craft 1978, p. 111, 113.
- ^ V. Stravinsky & Craft 1978, p. 119–120.
- ^ White 1979, pp. 145–146.
- ^ V. Stravinsky & Craft 1978, p. 132, 136.
- ^ White 1979, p. 49–50.
- ^ a b c d e Walsh 2001, 4. Exile in Switzerland, 1914–20.
- ^ a b c White 1979, p. 51.
- ^ White 1979, p. 54.
- ^ V. Stravinsky & Craft 1978, p. 137–138.
- ^ Walsh 1999, p. 191.
- ^ a b White 1979, p. 107.
- ^ Boucourechliev 1987, p. 119.
- ^ a b c Boucourechliev 1987, p. 139.
- ^ White 1979, p. 71–72.
- ^ a b V. Stravinsky & Craft 1978, p. 210.
- ^ a b c White & Noble 1980, p. 253.
- ^ V. Stravinsky & Craft 1978, p. 211.
- ^ a b c d e Walsh 2001, 5. France: the beginnings of neo-classicism, 1920–25.
- ^ Walsh 2006, p. 108.
- ^ Lawson 1986, p. 291.
- ^ a b Lawson 1986, p. 295.
- ^ Lawson 1986, p. 293–294.
- ^ White 1997, p. 103.
- ^ White 1979, p. 79.
- ^ a b White 1979, p. 85.
- ^ White 1979, p. 82.
- ^ White 1997, p. 75.
- ^ V. Stravinsky & Craft 1978, pp. 158–159.
- ^ White 1979, p. 86.
- ^ V. Stravinsky & Craft 1978, p. 252.
- ^ White 1979, pp. 85, 89.
- ^ Copeland 1982, p. 565.
- ^ V. Stravinsky & Craft 1978, p. 653.
- ^ Taruskin 1996, p. 1618.
- ^ White 1979, p. 90.
- ^ a b c d e f g Walsh 2001, 6. Return to the theater, 1925–34.
- ^ White 1997, p. 120.
- ^ Boucourechliev 1987, p. 167, 174.
- ^ White 1997, p. 117.
- ^ White 1979, p. 91.
- ^ Boucourechliev 1987, p. 174, 177–178.
- ^ White 1997, p. 122.
- ^ White 1997, p. 128–130.
- ^ White 1997, p. 130.
- ^ White 1979, p. 94.
- ^ Stravinsky 1936, pp. 154–155.
- ^ Boucourechliev 1987, p. 181.
- ^ Stravinsky 1936, p. 157.
- ^ White 1979, p. 98.
- ^ Boucourechliev 1987, p. 184–185.
- ^ White 1997, p. 138–139.
- ^ Boucourechliev 1987, p. 188.
- ^ White 1979, p. 100, 103.
- ^ White 1997, p. 142.
- ^ White 1979, p. 105.
- ^ a b V. Stravinsky & Craft 1978, p. 340.
- ^ Boucourechliev 1987, p. 197.
- ^ White 1997, p. 150.
- ^ a b c Walsh 2001, 7. Last years in France: towards America, 1934–9.
- ^ White 1979, p. 109.
- ^ V. Stravinsky & Craft 1978, p. 331.
- ^ White 1997, p. 154–155.
- ^ Cross 2013, p. 17.
- ^ White 1979, p. 404.
- ^ White 1979, p. 113.
- ^ Walsh 2006, pp. 99–100.
- ^ Walsh 2006, p. 99.
- ^ V. Stravinsky & Craft 1978, p. 342.
- ^ Boucourechliev 1987, p. 203, 205.
- ^ White 1979, p. 114–115.
- ^ Walsh 2006, p. 91, 94.
- ^ Walsh 2006, p. 93–94.
- ^ White 1979, p. 115.
- ^ Boucourechliev 1987, p. 206.
- ^ a b c Walsh 2001, 8. USA: the late neo-classical works, 1939–51.
- ^ White 1979, p. 119.
- ^ Joseph 2001, p. 119–120.
- ^ Walsh 2006, p. 128.
- ^ Joseph 2001, p. 122–123, 126.
- ^ a b Holland 2001.
- ^ White 1979, p. 124.
- ^ White 1979, p. 83.
- ^ a b Walsh 2006, p. 419.
- ^ Boucourechliev 1987, p. 230–231.
- ^ Stravinsky & Craft 1960, p. 156.
- ^ Boucourechliev 1987, p. 232.
- ^ Boucourechliev 1987, p. 238.
- ^ a b c d e Walsh 2001, 9. The proto-serial works, 1951–9.
- ^ Boucourechliev 1987, p. 241.
- ^ White 1979, p. 133.
- ^ Boucourechliev 1987, p. 247.
- ^ a b c Straus 2001, p. 4.
- ^ White 1979, p. 136–137, 504.
- ^ White 1979, pp. 138–139.
- ^ Lengel 2017.
- ^ Walsh 2006, p. 450–451.
- ^ a b White 1979, pp. 146–148.
- ^ Savenko 2013, p. 257–258.
- ^ Savenko 2013, p. 259.
- ^ Savenko 2013, p. 260.
- ^ Walsh 2006, p. 466, 471.
- ^ Walsh 2006, p. 476.
- ^ a b c Walsh 2001, 10. Final years, 1959–71.
- ^ Boucourechliev 1987, p. 283–284, 293.
- ^ Boucourechliev 1987, p. 292–293.
- ^ White 1979, pp. 154–155.
- ^ Walsh 2006, p. 532.
- ^ White 1979, pp. 158.
- ^ Walsh 2006, p. 560–561.
- ^ Boucourechliev 1987, p. 307.
- ^ Henahan 1971.
- ^ Boucourechliev 1987, p. 308–309.
- ^ Boucourechliev 1987, p. 250.
- ^ a b c White & Noble 1980, p. 240.
- ^ a b c d Walsh 2003, p. 10.
- ^ a b c White & Noble 1980, p. 248.
- ^ a b Walsh 2003, p. 1.
- ^ a b c White & Noble 1980, p. 259.
- ^ Walsh 2003, pp. 3–4.
- ^ Taruskin 1996, p. I: 100.
- ^ Walsh 2003, p. 4.
- ^ White 1979, p. 9.
- ^ a b White 1979, p. 10.
- ^ Walsh 2003, p. 5.
- ^ White 1979, p. 12.
- ^ Savenko 2013, p. 255.
- ^ Fredrickson 1960, p. 18.
- ^ McFarland 1994, pp. 205, 219.
- ^ McFarland 1994, p. 209.
- ^ McFarland 1994, p. 219 quoting Stravinsky & Craft 1962, p. 128.
- ^ Taruskin 1996, p. I: 662.
- ^ Taruskin 1996, p. I: 698.
- ^ a b White 1957, p. 61.
- ^ Hill 2000, p. 86.
- ^ Hill 2000, p. 63.
- ^ Ross 2008, p. 75.
- ^ Grout & Palisca 1981, p. 713.
- ^ V. Stravinsky & Craft 1978, p. 149.
- ^ White 1979, p. 563.
- ^ Savenko 2013, p. 262.
- ^ White & Noble 1980, p. 249.
- ^ V. Stravinsky & Craft 1978, p. 145.
- ^ a b White 1979, p. 240.
- ^ Walsh 2003, p. 16.
- ^ a b White & Noble 1980, p. 250.
- ^ V. Stravinsky & Craft 1978, p. 144.
- ^ a b Keller 2011, p. 456.
- ^ Zak 1985, p. 105.
- ^ Savenko 2013, p. 260–261.
- ^ V. Stravinsky & Craft 1978, p. 183.
- ^ White & Noble 1980, p. 251.
- ^ a b V. Stravinsky & Craft 1978, p. 218.
- ^ White 1979, p. 92.
- ^ Cross 2013, p. 13.
- ^ Taruskin 1992a, pp. 651–652.
- ^ a b Szabo 2011, pp. 19–22.
- ^ Szabo 2011, p. 39.
- ^ Szabo 2011, p. 23.
- ^ Mellers 1967, p. 31.
- ^ Szabo 2011, p. 1.
- ^ White & Noble 1980, p. 256.
- ^ Stravinsky & Craft 1960, p. 158.
- ^ Taruskin 1992b, pp. 1222–1223.
- ^ White & Noble 1980, p. 257.
- ^ Taruskin 1992b, p. 1220.
- ^ Craft 1982.
- ^ a b c d e White & Noble 1980, p. 261.
- ^ Straus 1999, p. 67.
- ^ White & Noble 1980, pp. 261–262.
- ^ White 1979, p. 539.
- ^ White 1979, p. 134.
- ^ White 1979, p. 560, 561.
- ^ Nandlal 2017, pp. 81–82.
- ^ Stravinsky & Craft 1959, p. 117.
- ^ Nandlal 2017, pp. 84.
- ^ Nandlal 2017, pp. 81.
- ^ Stravinsky & Craft 1959, pp. 116–117.
- ^ a b Predota 2021b.
- ^ Taruskin 1980, pp. 501.
- ^ Taruskin 1996, p. 558, 559.
- ^ Zak 1985, p. 103.
- ^ Taruskin 1980, pp. 502.
- ^ White 1979, pp. 89, 90.
- ^ a b Steinberg 2005, p. 270.
- ^ White 1979, p. 359, 360.
- ^ Steinberg 2005, p. 268.
- ^ Zinar 1978, pp. 177.
- ^ White 1979, p. 375.
- ^ Boucourechliev 1987, p. 191–192.
- ^ White 1979, p. 376, 377.
- ^ White 1979, p. 451, 452.
- ^ Stravinsky & Craft 1960, p. 146.
- ^ White 1979, pp. 477.
- ^ a b Glass 1998.
- ^ Time 1999.
- ^ Quoted in Goddard 1925, p. 292.
- ^ Andriessen & Cross 2003, p. 249.
- ^ Simeone, Craft & Glass 1999.
- ^ Browne 1930, p. 360–361.
- ^ Andriessen & Cross 2003, p. 248.
- ^ a b Walsh 2001, 11. Posthumous reputation and legacy.
- ^ Hyde 2003, p. 134.
- ^ Andriessen & Cross 2003, p. 251.
- ^ NASA n.d.
- ^ Walsh 2006, p. 572.
- ^ Cross 1998, p. 5.
- ^ a b Cross 1998, p. 6.
- ^ Benjamin 2013.
- ^ Matthews 1971, p. 11.
- ^ Schiff 1995.
- ^ Taruskin 1998.
- ^ Andriessen & Cross 2003, p. 250.
- ^ Pfitzinger 2017, p. 522.
- ^ Plasketes 2016, pp. 6–7.
- ^ Cook 2003, p. 176.
- ^ Cook 2003, p. 177, 179.
- ^ V. Stravinsky & Craft 1978, p. 308.
- ^ Boretz & Cone 1968, p. 268.
- ^ Cook 2003, p. 185.
- ^ Boretz & Cone 1968, pp. 268–288.
- ^ Grammy Awards n.d.a.
- ^ Grammy Awards n.d.b.
- ^ Grammy Awards n.d.c.
- ^ Joseph 2001, p. 165.
- ^ Joseph 2001, p. 167–168.
- ^ Joseph 2001, p. 171.
- ^ Joseph 2001, p. 176, 178.
- ^ Joseph 2001, p. 172.
- ^ Stravinsky 1936, pp. 91–92.
- ^ Stravinsky & Craft 1959.
- ^ White 1979, pp. 621–624.
- ^ Walsh 2001, "Writings".
Sources
Books
- ISBN 978-0-511-99889-8.
- ISBN 978-1-4008-7843-7.
- ISBN 978-0-8419-1162-8.
- Bowlt, John E. (2020). "Sergei Diaghilev and Stravinsky: From World of Art to Ballets Russes". In Griffiths, Graham (ed.). Stravinsky in Context. Cambridge University Press. pp. 61–70. S2CID 229417098.
- Caddy, Davinia (2020). "Paris and the Belle Époque". In Griffiths, Graham (ed.). Stravinsky in Context. Cambridge University Press. pp. 71–79. S2CID 229424313.
- Cook, Nicholas (2003). "Stravinsky conducts Stravinsky". In ISBN 978-0-511-99889-8.
- ISBN 978-0-521-56365-9.
- ISBN 978-0-691-15987-4.
- ISBN 978-0-86547-664-6.
- ISBN 978-0-306-80878-4.
- ISBN 978-0-460-04546-9.
- Hill, Peter (2000). Stravinsky: The Rite of Spring. Cambridge University Press. ISBN 978-0-521-62714-6.
- Hyde, Martha (2003). "Stravinsky's neoclassicism". In ISBN 978-0-511-99889-8.
- Joseph, Charles M. (2001). Stravinsky Inside Out. Yale University Press. ISBN 978-0-300-12936-6.
- Keller, James M. (2011). Chamber Music: A Listener's Guide. Oxford University Press. ISBN 978-0-19-020639-0.
- Lawson, Rex (1986). "Stravinsky and the Pianola". In Pasler, Jan (ed.). Confronting Stravinsky: Man, Musician, and Modernist. University of California Press. ISBN 978-0-520-05403-5.
- Pfitzinger, Scott (2017). Composer Genealogies: A Compendium of Composers, Their Teachers, and Their Students. Rowman & Littlefield. ISBN 978-1-4422-7225-5.
- Plasketes, George (2016). Warren Zevon: Desperado of Los Angeles. Rowman & Littlefield. ISBN 978-1-4422-3457-4.
- ISBN 978-1-84115-475-6.
- Savenko, Svetlana (2013). "Stravinsky: The View from Russia". In Levitz, Tamara (ed.). Stravinsky and His World. Translated by Penka, Philipp. Princeton University Press. ISBN 978-0-691-15987-4.
- Straus, Joseph N. (2001). Stravinsky's Late Music. Cambridge Studies in Music Theory and Analysis. Cambridge University Press. ISBN 978-0-521-80220-8.
- ISBN 978-0-935859-92-8.
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- ISBN 978-0-333-80409-4.
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- White, Eric Walter (1957). "Stravinsky". In Hartog, Howard (ed.). European Music in the Twentieth Century. Pelican Books.
- White, Eric Walter (1979). Stravinsky, The Composer and his Works (2nd ed.). University of California Press. ISBN 978-0-520-03983-4.
- White, Eric Walter (1997). Stravinsky: A Critical Survey, 1882–1946. Dover Publications. ISBN 978-0-486-29755-2.
- White, Eric Walter; ISBN 978-0-333-23111-1.
- Stravinsky, Igor (1936). An Autobiography. W. W. Norton. ISBN 978-0-393-00161-7.
- Stravinsky, Igor; ISBN 978-0-571-11464-1.
- Stravinsky, Igor; ISBN 978-0-520-04402-9.
- Stravinsky, Igor; ISBN 978-0-520-04403-6.
- ISBN 978-0-671-24382-1.
- ISBN 0-8256-7290-2.
Articles and dissertations
- Benjamin, George (29 May 2013). "How Stravinsky's Rite of Spring has shaped 100 years of music". The Guardian. Retrieved 15 April 2023.
- Browne, Andrew J. (October 1930). "Aspects of Stravinsky's Work". JSTOR 726868.
- Copeland, Robert M. (1982). "The Christian Message of Igor Stravinsky". JSTOR 742158.
- Craft, Robert (December 1982). "Assisting Stravinsky – On a misunderstood collaboration". The Atlantic. pp. 64–74. Retrieved 6 April 2023.
- Fredrickson, Lawrence Thomas (1960). Stravinsky's Instrumentation: A Study of his Orchestral Techniques (Dissertation thesis). University of Illinois. Retrieved 1 June 2024.
- Glass, Philip (8 June 1998). "The Classical Musician Igor Stravinsky". Time. Archived from the original on 5 June 2022. Retrieved 6 April 2023.
- Goddard, Scott (October 1925). "Maurice Ravel: Some Notes on His Orchestral Method". JSTOR 725957.
- "Grammy Hall of Fame Awards". Grammy Awards. Retrieved 25 May 2024.
- Henahan, Donal (7 April 1971). "Igor Stravinsky, the Composer, Dead at 88". The New York Times. p. 1. Archived from the original on 28 September 2022. Retrieved 6 April 2023.
- Holland, Bernard (11 March 2001). "Stravinsky, a Rare Bird Amid the Palms; A Composer in California, At Ease if Not at Home". The New York Times. Archived from the original on 24 March 2023. Retrieved 6 April 2023.
- "Igor Stravinsky". Grammy Awards. Retrieved 25 May 2024.
- Lengel, Edward G. (22 April 2017). "Igor Stravinsky at the White House". White House Historical Association. Retrieved 21 May 2024.
- "Lifetime Achievement Award". Grammy Awards. Retrieved 25 May 2024.
- Matthews, David (Winter 1971). "Copland and Stravinsky". Tempo (95): 10–14. S2CID 145054429.
- McFarland, Mark (1994). "'Leit-harmony', or Stravinsky's Musical Characterization in The Firebird". JSTOR 24618812.
- Mellers, Wilfrid (Summer 1967). "Stravinsky and Jazz". JSTOR 943884.
- "Music from Earth". Jet Propulsion Laboratory. NASA. Retrieved 6 April 2023.
- Nandlal, Carina (22 May 2017). "Picasso and Stravinsky: Notes on the Road from Friendship to Collaboration". Colloquy (22). .
- Predota, Georg (17 March 2021). "Stravinsky's Literary Sources". Interlude. Retrieved 23 June 2023.
- Schiff, David (September 1995). "Unreconstructed Modernist". The Atlantic. Retrieved 1 June 2023.
- National Public Radio. Retrieved 24 May 2024.
- ISBN 978-0-19-802921-2.
- Straus, Joseph N. (April 1999). "Stravinsky's 'Construction of Twelve Verticals': An Aspect of Harmony in the Serial Music". JSTOR 745920.
- Szabo, Kyle (2011). The evolution of style in the neoclassical works of Stravinsky (Dissertation thesis). James Madison University. Retrieved 4 April 2023.
- JSTOR 831304.
- Taruskin, Richard (25 October 1998). "Bartok and Stravinsky: Odd Couple Reunited?". The New York Times. p. 33. Retrieved 1 June 2023.
- "Time 100 Persons Of The Century". Time. 14 June 1999. Retrieved 24 May 2024.
- Zak, Rose A. (1985). "'L'Histoire du soldat': Approaching the Musical Text". Mosaic: An Interdisciplinary Critical Journal. 18 (4): 101–107. JSTOR 24778812.
- Zinar, Ruth (Fall 1978). "Stravinsky and His Latin Texts". College Music Symposium. 18 (2). College Music Society: 176–188. JSTOR 40373983.
External links
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How to use archival material |
- Free scores by Igor Stravinsky at the International Music Score Library Project (IMSLP)
- The Stravinsky Foundation website
- "Discovering Stravinsky". BBC Radio 3.
- Works by or about Igor Stravinsky at Internet Archive
- Igor Stravinsky discography at Discogs
- Igor Stravinsky at AllMusic