By Maureen A. Carr
The rebel that erupted in the course of 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 fascinating occasions of contemporary musical background. The 3rd in a sequence 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 prime, The ceremony of Spring has verified its earth-shattering impression on track and dance in addition to its immortalizing impression on Stravinsky and his occupation. Having received overseas awareness via the age of 30, what path might 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 type as he looked for his personal voice within the explosive musical international of the early twentieth century as he replied to harsh criticisms of his paintings. in the course of the booklet, writer Maureen Carr offers new transcriptions and complicated analyses of chosen musical sketches to teach the genesis of Stravinsky's musical rules as he forayed into surrealism, classicism, and abstraction to enhance his signature Neoclassical variety. Exploring those annotated compositional experiments--such because the earliest proof of Stravinsky's appropriation of the "rag idiom" and the advance of his so-called "sound blocks"--After the ceremony presents new perception into how Stravinsky challenged and guided the musical advancements of the last decade after that mythical Paris foremost. 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, supplying a entire inventive context for Carr's remarkable and rigorous examination.
A treasure trove of remarkable fabric for students, musicians, scholars, and normal readers alike, After the ceremony bargains a much-needed delineation of the concept that of musical neoclassicism. Maureen Carr's leading edge and distinct exam of the metamorphosis of Igor Stravinsky's compositional kind after The ceremony of Spring is a useful contribution to the literature relating this iconic twentieth century composer.
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Extra resources for After the Rite: Stravinsky's Path to Neoclassicism
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. 16 Adorno, Quasi una Fantasia, 156. 17 Neoclassicism substituted for neo-Classicism. 18 Adorno, Quasi una Fantasia, 157; 157n11: “Bindung means connection, relationship, commitment.
Most pianists would agree that, because of its nature and the manner in which the model is disguised and distorted, Piano-Rag-Music falls into the category of surrealism. It represents the highest level of abstraction in comparison with the jazz idiom. Pieter van den Toorn seems to be thinking along similar lines when he asks the question: “How does Neoclassicism manifest itself? Do parts or features readily identified as Baroque or Classical, tonal or adhering to tonally conceived forms and shapes, draw attention to themselves as such?
For information about Henrietta Malkiel and her work as cofounder of the Congressional Quarterly in 1945 together with her husband, Nelson Poynter, see Shelley Fisher Fishkin, Feminist Engagements: Forays into American Literature and Culture (New York: Macmillan, 2009), 175–76. 64 65 26 i After the Rite of the sketches for this work and an analysis of the published edition. To my way of thinking, Piano-Rag-Music demonstrates a quintessential alienation or deformation of its tonal model that defamiliarizes its source.
After the Rite: Stravinsky's Path to Neoclassicism by Maureen A. Carr