Nationalism, Primitivism, & Neoclassicism Igor Stravinsky (1882-1971) Biographical sketch: § Born in St. Petersburg, Russia. § Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov. § Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). § Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century. § Works generally divided into three style periods: • “Russian” Period (c.1907-1918), including “primitivist” works • Neoclassical Period (c.1922-1952) • Serialist Period (c.1952-1971) § Died in New York City in 1971.
Pablo Picasso: Portrait of Igor Stravinsky (1920) Ballets Russes History: § Founded in 1909 by impresario Serge Diaghilev. § The original company was active until Diaghilev’s death in 1929. § In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky. § Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913). § Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe. Serge Diaghilev (1872-1929) Ballets Russes
Serge Diaghilev and Igor Stravinsky.
Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911). Ballets Russes
Petrouchka—Synopsis: § Originally conceived as a Konzertstück for piano and orchestra; Diaghilev convinced Stravinsky to recast the work as a ballet. § Set in 19th century Russia. § Primary characters include The Magician and three puppets: Petrouchka, The Ballerina, and The Blackmoor. § Presented in four tableau: • Outer tableau set at The Shrovetide Fair, and feature many varied characters. • Inner tableau set in Petrouchka’s room and the Blackmoor’s room.
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Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911). 16th-century Italian Commedia dell’arte characters—e.g., Harlequin, Pulcinella (Punch, Petrouchka), Pedrolino (Pierrot)— were popular in early 20th-century art, literature, and music.
Pablo Picasso: Harlequin Sitting on a Red Couch (1905)
Pablo Picasso: Leaning Harlequin (1901) Primitivism Although elements of “primitivism” (“exoticism”) may be traced back to Jean- Jacques Rousseau’s “noble savage” of the 18th century Enlightenment period, there was a resurgence of interest at the beginning of the 20th century.
Characteristics: § Exploration of cultural concerns from outside of the European tradition: e.g., overt sexuality, violence. § Non-western elements often applied in a simplistic or superficial way. § Crudeness and rawness of materials. § Abstraction of the figure in visual arts. § Emphasis on rhythm and percussive elements in music. § Representative artists include Paul Gauguin, Henri Rousseau, and Pablo Picasso. § Representative composers include Igor Stravinsky and Béla Bartók. Primitivism
Henri Rousseau: The Dream (1910)
Paul Gauguin: Two Tahitian Women (1899) Primitivism Pablo Picasso: Les Demoiselles d’Avignon (1907)
African masks Igor Stravinsky: Le Sacre du Printemps (1913)
“Sacrificial Dance (The Chosen One)”
Note percussive use of strings, halting rhythms, and irregular meters. Ballets Russes
Costume and stage designs from Ballets Russes production of Stravinsky’s Le Sacre du Printemps (1913) Le Sacre du Printemps: Caricature of Stravinsky by Jean Cocteau (1913) From Abstraction to Neoclassicism Pablo Picasso: Woman in Armchair (1913)
Pablo Picasso: Woman and Child (1921) Neoclassicism
Members of “Les Six”, standing: Darius Milhaud, Georges Auric, Arthur Honegger, Germaine Tailleferre, Francis Poulenc, Louis Durey; seated at piano: Jean Cocteau. Erik Satie (1866-1925)
“Les Six” Polytonality Tonal Concepts
n Tonality
n Key
n Modulation
n Consonance
n Dissonance
n Diatonicism
n Polytonality Darius Milhaud: Saudades do Brasil (1921-22)—“Botofogo”
A RH: F# minor
LH: F minor
(convergence) Darius Milhaud: Saudades do Brasil (1921-22)—“Botofogo” (convergence)
B
RH: Quintal arpeggiation
LH: A minor Darius Milhaud: Saudades do Brasil (1921-22)—“Botofogo” A
(convergence) Béla Bartók: 44 Violin Duos, No. 33—“Song of the Harvest” A minor A
D# minor
B D minor
G# minor
F minor A’
B minor
E minor B’
A minor
A”
E minor Igor Stravinsky: Petrouchka Chord
Derivation from octatonic scale: C major triad
F# major triad
Pitches may be rearranged and spelled enharmonically as a dominant minor ninth with an augmented eleventh: Igor Stravinsky: Petrouchka Chord
Reduction of p. 60 from 1911 version of Petrouchka: C major
F# major
F# major + C major Igor Stravinsky: Le Sacre du Printemps (1913)—“Augurs of Spring” a. mm. 1-4 after No. 13:
E dominant 7
F major Igor Stravinsky: Le Sacre du Printemps (1913)—“Augurs of Spring” b. mm. 1-4 after No. 14:
E dominant 7
E minor
C major
C major E major Igor Stravinsky: Le Sacre du Printemps (1913)—“Augurs of Spring” c. mm. 1-4 after No. 16: E dominant 7
C major
Quintal arpeggiation