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Stravinsky, the Fire-Bird, "The Fire-Bird's Dance,"

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/N81 AI2319 Ti VILSKY' USE OF IEhPIAN IN HIS ORCHESTRAL WORKS THE IS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of M1- JiROF JU.SIC by Wayne Griffith, B. Mus. Conway, Arkansas January, 1955 TABLE OF CONTENT4 Page LIST OF ILLUSTRATIONS . ,.. , , * . Chap ter I. THE USE OF PIANO1E A' Al ORCTHE TL I:ThUERIMT BEFOR 1910 . , , . , , l STRAICY II. S U6 OF 2E PIANO S E114ORCHES L ORK HIS OF "RUSIA PERIOD . 15 The Fire-Bird Pe~trouchka Le han u hossignol III. STAVIL C ' 0 USE OF TE PI 40IN 9M ORCHESTRAL .RKS OF HIS "NEO-CLASSIO" PERIOD . 56 Symphonyof Psalms Scherzo a la Russe Scenes IBfallet Symphony~in Three Movements BIIORPHYy * - . 100 iii 1I3T OF ILLUSTRATIONS Figure Page 1. Berlioz, Leio, Finale, (from Berlioz' Treatise on Instrumentation, p . 157) . 4 2. Saint-Saena, ym phony in 0-minor, (from Prof. H. Kling's Modern Orchestration and Instrumentation, a a.~~~~*f0" 0. 7 p. 74) . 0 0 * * * 3. Moussorgsky, Boris Godunov, "Coronation Scene,'" 36-40 mm.f . -a - - --. " " . 10 4. oussorgsky, Boris Godunov, "Coronation :scene," mm. 241-247 . f . * . 11 5. imsky-Korsakoff, Sadko , (from rimkir -Korsakoff' s Principles of 0rchtiration, Lart II, p. 135) . 12 6. ximsky-Korsakoff, The Snow aiden, (from Zimsky torsatoff'c tTTrin~lecs ofhOrchestration, Part II, . 01) . - - . - . * - - . 12 7 . i s akosy-. o Rf, TVe <now %aiN , (f 0r 1;i s^ky Korsaoif ' s Prciniles of Orchestration, Part II, 'p. 58) . aa. .a. .a- -.-"- -a-a -r . .". 13 8. Stravinsky, The Fire-Bird, "The Fire-Bird's Dance," 9. TheFire-Bird, "The Fire-Bird's Dance," m. 27 . * 22 10. ThFire-Bird, "The Fire-Bird's Dance," m. 29 . 23 11. TheFire-Bird, "Infernal Dance of K astchei ," Am. "e27-28 m.-0 - - 0* - 0 0 0 * . * . .0.f 23 12. The Fire-Bird, "The Fire-Bidi's Danee," mmi . 51-55 .- A.- . a- ..-- - - - . f a. .f.r. 24 13. The Fire-Bird, "InfernaL Dance of tastehei," M . 1- 0 * -- * * * * * * * * * * * * . * * 25 14. The Fire-Bird, "Infernal Dance of Kastenei," mm - 07076 - 0 * 0 * 0 * * . *.. 0 . 26 iv igure Page 15. The Fire-Bird, "Infernal Dance of kastchei ," . 0 27 16. Th e Fire-Bird , "Infernal Dance of astch.ei , 1 2 9 1 3 0 mm. - .-. , . , * . * . * . .-. 0 28 17. The Fire-Bird, "Infernal Dance of iastci ei, . 28 18. The Fire-Bird, "Infernal Dance of Ka thei, mm. 177-180 *.t-ik,. Ta . .a I . .... 8 . 0 29 19. 4stravinsky, Petrouchka, Tableau I, rm. 26-28 . 33 20. Petrouchka, Tableau I, mm. 23-27 . 34 21, etrouchka, Tableau I, . 42-51 . 35 22. Petrouchk, Tableau I, m. 74-82 . ., . 36 23. Petr.ouchka., Tableau I, "Russian Dance,U .. 9,.. , .* . , . 36 24. Petrouchkca, Tableau I, "Russian Dance," .. mm. 1- . n . 0 . 0 * 37 25* Petrouchka, Tableau I, "Russian Dance," ii.i 9-T. 0 . 38 26* Petrouchka, Tableau I , ".s9silDanee,I 1 -0 4-106 . .9 ., . 0,, . 458 27. Petrouchka , Tableau I, mn. 9-1 . 0 0 . 39 28. Ravel, Jeux d'Eau, m. 72 . , 0 . 40 29. Petroucka, Tableau II, mm. 19-20 . 0 ." . 40 30. Petroucka, Tableau II, mm. 27-28 . " . *. " 41 31. Petrouchka, Tableau II, mm. 33-36 . 42 32. Petrouchka, Tableau II, mm. 51-53 . 43 33. Petrouchka, Tableau II, mm. 76-77. 0 . 43 34. Petrouchka, Tableau III, "Vet-iurses' Dance," fn. 39-40 . ". *. 0.".-." ., ." .0 .0 .0 0. *. 0 . 44 V Figure 35. etrouchka, Tabieau IV, "Gypsies an a Rake ort mm. 10-12 44 36. 2r c a, Table IV, Th Ziv-T, F 45 . 2etrocchna, Tableau IV, "Dance of tie Coachmen," mm s . 8 - 2 . .r 4*. 0. a, 0.0 ". : .f .'. 45 66. Qetrouchk.a, Tableau IV, "'vswueraaer'," im. 4 '75j * * * . , * * . * - - * * " . * . 46 39. Petrouchka, abieau IV, Sas uerades mm. 1-2 . * * * 0 , . 9 47 40. Pe trouchka, Tabieau V , "The Shuffie," mm. 12-13 . , . " . 47 41. travinsky, te Oant duosigno , m-. 33-35 . 50 42. Le Chant Su ossigioi, MM. 151-153 . 50 43*. Le Chant diu osignot i, . .. f " 44. Le Chant du j:osigno1, imn. 130-131 . 45. L Cat du ossignol, mm. 198-204 . 52 46. Le Chant dujocsi1nomm. 367-369 . 53 7. ehant uSsinol, . 294-295 . 54 48. Le Chant d u R sig mm. 344-350 . 55 49. Stravinsky, . yjo of Psalms, First 4oveen " mm 1o . ' - * * - - - . 65 50. Symphony of' salms, First movement, mm. 15-20. 66 1. zhony .of Psalms, First :iovement,m. 65-67 68 52. Syphony 0v _ Psalms, First Movement, mm. 72-73 . 69 53. Syphonyo_ Psalms, Tiird iovunent, n i. 38-39 . 0 70 54. Sjyphny of Psalms, Third M ovement, Mm.T.911F. - - - -! -* -* -a -# -" -* .e 0 . 70 vi Figure Page 55, xyaphoy of Psalms, Third ovement , mm. 4-6 . 71 56. ymhon of Psalms, Third Moveme nt, tam. 39-41 . 72 57. ymphony of Psalms, Third Movement, mm. 92-97 . 73 58. yhonyof Psalms, Thi rd movement .*160 16 . 0 0. 75 59. Scherzo la a Russ, Trio I, mm. 5-7 . 76 60. Scherzo a_ is ,sse,t 1-4 . 77 61. Scherzo a I Russe, Trio II, mm. 1-2 . 78 62. Scenes de Ballet, Variation of the Ballerina, . 0 0 0 0 . * * * 0 0 . * * * . * 79 M 01-3 0 63. Scenes de Ballet, Introduction, mm. 1-5 . 80 64. Scenes de Ballet, Varia tion of the Ballerina, mm1. 30~-~3A . s.".s. .. .".". " . 81 65. cenes Ballet, de Pantomime, ma. 18-19 . 82 66. cencs de Ballet, 'tPas de Deux, " .mm.31-32 . 82 67. Scenes de Ballet, Tances ("corps de ballet"), mm. 36-39 * . 83 68. Scenes d e allt, "Pas de Deux," mm. 40-41 . 84 69. Scenes de Ballet, Apotheosis, mm. 18-22 . 86 70, ympony in Three Jovesents, First Movement, mm. ". - "- f- .- "-.-f- "- "-"- 1-4 "- . "." ". f. 88 71. JymJony in Three Movements, First Movement, .. 2- - *7 .- . 89 72. _ymp__n in Tiroe WMovoinen ts, Fir st Movonment 90 0 0 * .0 4 0 0 0, . a -~aU ". , honin Three Movements, First Movement, ran. 1 ~ s 7 . " " " " " . " r.".". .".f.". ". 90 74. symphony in t Movements, First hove-ent, mm. 144~~b2 . .' . 92 vii igure age 75. ymphny in Three movements, Firs tMovanent rum. 318~~7320T 7. ., . ,. 93 76. Syphn inThree hovanents, Third hovanent, mm. 113-118 . .. , . , * . ' . * 94 77. Symphony in Three Movements, Third Movaent, 781-4 in Three overents, - hir ho-v.em.ent, . 78. ymphny n Thee ovement , Third Movement, m. 2 2-205 ,! ,. , , , , , , a , , , , 9 viii CHAPTER I THE USE OF THE PIANO AS AN ORCHESTRAL INSTRUMENT BEFORE 1910 The use of the piano with the orchestra can be divided into three categories: as a solo instrument, as an accom panying instrument, or as a percussion instrument. 1 The piano was used only as a solo instrument in the time of Mozart and Haydn since the concept of orchestration at that time was "to bring out the melodic and harmonic structure of a work and to reveal all the musical substance it con tained.a 2 As lesson states: A diminutive orchestra in itself, the piano generally refuses to associate with the orchestra except in the piano concerto where it plays the domi nating part. The timbre of the piano blends poorly with the orchestra; it remains insoluble. This fact has been pointed out previously by Fetis (in his Curiosities of Music, 1829) after that eminent musi cologist had heard in London symphony concerts directed at the piano by Sir George Smart and Dr. Crotch.3 There exist comparatively few symphonic works in which the piano is treated simply as an instrument in the orchestra on the same footing as the other instruments, either as an >.aurice Gardner, &eOrchestrator's handbook, p. 48. 2 Boris de Schloezer, "Stravinsky; His Technique," Dial, LXX VI (January, 1929), 14. 3rnest Closson, History of the Piano, p. 10. 1 2 accompanying instrument or as a percussion instrument.4 In speaking of the treatment of the piano as just another in strument in the orchestra, Bernard Rogers states: Contemporary composers show an occasional dis position to add the piano to the orchestral ranks. Since it is in principle allied to the percussion instruments, it will be considered briefly here. The piano's traditional role as rival to the orchestral ensemble has gradually changed to that of color com plement; its wide palette has been incorporated into that of the orchestra. The piano's range slightly exceeds that of the full orchestra. Its color may be merged more or less freely with that of the other instruments. The modern attitude perhaps views the piano as a sonorous and rhythmic resource rather than as a lyric adjunct. How ever, melodic doublings are often found, especially in the higher and deeper areas. The upper tones of the piano add verve and clarity: they mix vividly with woodwinds and pizzicato, with harp and with the smaller percussive instruments. The deep sounds have great power and substance, especially valuable for bell-like suggestion. In this region, fine changing mixtures are possible with the large percussion, deep pizzicato, and low brass. The imaginative use of the damper pedal widens the piano's color scheme; the "una corda" effect is a fine one in the softer dynamics. Like other percussion instruments, the piano con sorts best with the wind choirs. Its tone is too ob jective and precise to form a natural union with (bowed) strings.5 Although the piano has become popular as an instrument in the orchestra only since the time of Stravinsky and his contemporaries, it appeared in symphonic works as early as 4 For purposes of this thesis, these two treatments will be considered as one.
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  • JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th

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    06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev.
  • Stravinsky Oedipus

    Stravinsky Oedipus

    London Symphony Orchestra LSO Live LSO Live captures exceptional performances from the finest musicians using the latest high-density recording technology. The result? Sensational sound quality and definitive interpretations combined with the energy and emotion that you can only experience live in the concert hall. LSO Live lets everyone, everywhere, feel the excitement in the world’s greatest music. For more information visit lso.co.uk LSO Live témoigne de concerts d’exception, donnés par les musiciens les plus remarquables et restitués grâce aux techniques les plus modernes de Stravinsky l’enregistrement haute-définition. La qualité sonore impressionnante entourant ces interprétations d’anthologie se double de l’énergie et de l’émotion que seuls les concerts en direct peuvent offrit. LSO Live permet à chacun, en toute Oedipus Rex circonstance, de vivre cette passion intense au travers des plus grandes oeuvres du répertoire. Pour plus d’informations, rendez vous sur le site lso.co.uk Apollon musagète LSO Live fängt unter Einsatz der neuesten High-Density Aufnahmetechnik außerordentliche Darbietungen der besten Musiker ein. Das Ergebnis? Sir John Eliot Gardiner Sensationelle Klangqualität und maßgebliche Interpretationen, gepaart mit der Energie und Gefühlstiefe, die man nur live im Konzertsaal erleben kann. LSO Live lässt jedermann an der aufregendsten, herrlichsten Musik dieser Welt teilhaben. Wenn Sie mehr erfahren möchten, schauen Sie bei uns Jennifer Johnston herein: lso.co.uk Stuart Skelton Gidon Saks Fanny Ardant LSO0751 Monteverdi Choir London Symphony Orchestra Igor Stravinsky (1882–1971) Igor Stravinsky (1882–1971) The music is linked by a Speaker, who pretends to explain Oedipus Rex: an opera-oratorio in two acts the plot in the language of the audience, though in fact Oedipus Rex (1927, rev 1948) (1927, rev 1948) Cocteau’s text obscures nearly as much as it clarifies.
  • Influence of Commedia Dell‟Arte on Stravinsky‟S Suite Italienne D.M.A

    Influence of Commedia Dell‟Arte on Stravinsky‟S Suite Italienne D.M.A

    Influence of Commedia dell‟Arte on Stravinsky‟s Suite Italienne D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Doctor of Musical Arts In the Graduate School of The Ohio State University By Sachiho Cynthia Murasugi, B.M., M.A., M.B.A. Graduate Program in Music The Ohio State University 2009 Document Committee: Kia-Hui Tan, Advisor Paul Robinson Mark Rudoff Copyright by Sachiho Cynthia Murasugi 2009 Abstract Suite Italienne for violin and piano (1934) by Stravinsky is a compelling and dynamic work that is heard in recitals and on recordings. It is based on Stravinsky‟s music for Pulcinella (1920), a ballet named after a 16th century Neapolitan stock character. The purpose of this document is to examine, through the discussion of the history and characteristics of Commedia dell‟Arte ways in which this theatre genre influenced Stravinsky‟s choice of music and compositional techniques when writing Pulcinella and Suite Italienne. In conclusion the document proposes ways in which the violinist can incorporate the elements of Commedia dell‟Arte that Stravinsky utilizes in order to give a convincing and stylistic performance. ii Acknowledgments I would like to express my sincere gratitude to my advisor, Dr. Kia-Hui Tan and my committee members, Dr. Paul Robinson, Prof. Mark Rudoff, and Dr. Jon Woods. I also would like to acknowledge the generous assistance of my first advisor, the late Prof. Michael Davis. iii Vita 1986………………………………………….B.M., Manhattan School of Music 1988-1989……………………………….…..Visiting International Student, Utrecht Conservatorium 1994………………………………………….M.A., CUNY, Queens College 1994-1995……………………………………NEA Rural Residency Grant 1995-1996……………………………………Section violin, Louisiana Philharmonic 1998………………………………………….M.B.A., Tulane University 1998-2008……………………………………Part-time instructor, freelance violinist 2001………………………………………….Nebraska Arts Council Touring Artists Roster 2008 to present………………………………Lecturer in Music, Salisbury University Publications “Stravinsky‟s Suite Italienne Unmasked.” Stringendo 25.4 (2009):19.