After the Rite: Stravinsky's Path to Neoclassicism by Maureen A. Carr

By Maureen A. Carr

The rebellion that erupted through the 1913 debut of Igor Stravinsky's The ceremony of Spring on the Théâtre des Champs-Élysées in Paris has lengthy been essentially the most notorious and interesting occasions of contemporary musical historical past. The 3rd in a chain of works commissioned for Sergei Diaghalev's famed Ballets Russes, the piece mixed disjunct tonalities, provocative rhythms, and radical choreography that threw spectators and critics right into a literal fury. within the century following its most well known, The ceremony of Spring has confirmed its earth-shattering impression on song and dance in addition to its immortalizing impact on Stravinsky and his profession. Having won overseas recognition by way of the age of 30, what course may well Stravinsky's course ahead take after the momentus occasions of 1913?

After the ceremony: Stravinsky's route to Neoclassicism (1914-1925) lines the evolution of Stravinsky's compositional variety as he sought for his personal voice within the explosive musical international of the early twentieth century as he replied to harsh criticisms of his paintings. through the booklet, writer Maureen Carr offers new transcriptions and complex analyses of chosen musical sketches to teach the genesis of Stravinsky's musical rules as he forayed into surrealism, classicism, and abstraction to advance his signature Neoclassical sort. Exploring those annotated compositional experiments--such because the earliest facts of Stravinsky's appropriation of the "rag idiom" and the improvement of his so-called "sound blocks"--After the ceremony offers new perception into how Stravinsky challenged and guided the musical advancements of the last decade after that mythical Paris optimal. Enlightening visible metaphors, akin to the modern work of Paul Klee and people of the Russian futurists, complement dialogue of the musical sketches all through, providing a entire inventive context for Carr's remarkable and rigorous examination.

A treasure trove of remarkable fabric for students, musicians, scholars, and common readers alike, After the ceremony bargains a much-needed delineation of the idea that of musical neoclassicism. Maureen Carr's cutting edge and targeted exam of the metamorphosis of Igor Stravinsky's compositional kind after The ceremony of Spring is a useful contribution to the literature touching on this iconic twentieth century composer.

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V. org/encyclopedia/article/delaunay-sonia. , Chicago: University of Chicago Press, 2003), 6. Citations refer to the 2003 edition. v. ” 22 For a facsimile of a partial image of La Prose du Transsibérien, see Stephen Bury, Breaking the Rules: The Printed Face of the European Avant Garde 1900–1937 (London: The British Library, 2007), 34. © Miriam Cendrars. In her book The Futurist Moment, Marjorie Perloff considers Cendrars’s text in La Prose du Transsibérien to be “an especially fitting emblem of what I call the Futurist Moment,” 3.

There are works of the early nineteen-twenties—such as the Concertino for String Quartet and the Woodwind Octet—which would be difficult to classify as infantile or neo-classic. ” See Theodor W. Adorno, Philosophy of Modern Music (1949), trans.  Blomster (New York: Seabury Press, 1973), 206. Adorno is of the opinion that “Stravinsky’s neoclassicism practices the old custom of joining brokenly disparate models together. ” See Adorno, Philosophy, 208. For additional reading on Adorno’s inconsistent comments about Stravinsky’s music, in Philosophy of New Music and other works, see Max Paddison, Adorno’s Aesthetics of Music (Cambridge: Cambridge University Press, 1993), 267–70.

13 The philosophical basis for this worldview of artistic processes was divisive and left no room for a shared vision, such as the style exemplified by the Russian-born artist, Vladimir Baranov-Rossiné (1888–1944), a Cubo-Futurist, who was strongly influenced by his studies in Paris. Elements of the West and East comingle in his Nymphen und Zentauren, completed in 1914 and displayed in 2009 at the Hamburger Kunsthalle as part of the exhibition entitled Tanz der Farben: Nijinsky’s Auge und die Abstraktion [Dance of Colours: Nijinsky’s Eye and Abstraction].

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