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Cambridge University Press 978-1-107-02100-6 - Stravinsky and the Russian Period: Sound and Legacy of a Musical Idiom Pieter C. van den Toorn and John McGinness Index More information

Index

Ablesimov, Alexander 56 extra eighth-note beat 201–5 The Miller Who was a Wizard, a Cheat, and a notation 201 Matchmaker 56 response of listener 201–5 Abraham, Gerald 244–45 geometry of the plot important rather than accent markings, beams and slurs 190–93, 205 individual roles 197 Adams, John 2 layered structures 199–200 El Dorado 2 metrical analysis following Lerdahl– Adorno, T. W. 1 Jackendoff 17 music of Stravinsky and Schoenberg 195, 269 octatonic–diatonic interactions 136, 143–44, Philosophy of Modern Music 1, 282, 283–84 189–90, 214–20 Stravinsky’s music see under Stravinsky and pitch relations 214–20 his critics Tonnetze 216–17, 219 aesthetic belief see performance practice and stratification 17, 199, 208–11 aesthetic belief structure in the large 208–13 Afanasyev, Alexander 53, 75–76, 196–97 substructure 206–08 Russian Folk Tales 196–97 “An Abridged Analysis” (de Schloezer) 13 Agon (Stravinsky) 190–91, 194 Andriessen, Louis 2, 3, 251 alignment 19, 194 De Staat 2 changes in metrical alignment 25, 33 Ansermet, Ernest 79 displacement as opposite of fixed alignment “Antar” Symphony No. 2 (Rimsky-Korsakov) 147 91–92 anti-humanism in Stravinsky’s music 12, 89, dissonances 39 261, 286–87, 289, 290, 294–95, 297 distinctions between displacement in Apollo Musagetes (Stravinsky) 115, 121 Classical style and in Stravinsky 32–33 Arensky, Anton 56–57 hemiola 33–34 articulation 5, 18, 19, 32–33, 267–68, 268–69 Les Noces 108, 112, 221 compositional process 173 metrical alignment and realignment in exactness in 176 relief 41 Les Noces 110, 131–32, 158, 261 and metrical interpretations 20–21 displacement 88 parallel alignment 22–23 incompleteness 114, 123–25, 139–40, 148 Renard 174, 202, 203, 205, 208, 214 percussion supplying extra articulation 79–80 see also meter, text and alignment in phrases 256 Renard Renard 11, 20–21, 199, 205, 214 Allegro section of Renard reconsidered 11, displacement 179 196–224 role of articulation in processes of metrical as “burlesque” 196–97 displacement 88, 179, 183–94, 194 con brio section 174, 184–85, 218 Symphonies of Wind Instruments 261 displacement and repetition in the opening Autobiography (Stravinsky) 259 allegro 20–21, 28–29, 174, 200–1, 208 conflicted interpretations 23 Babbitt, Milton 1 displaced repeats 29–30 Bach, Johann Sebastian 120 passages heard and understood Brandenburg Concerto No. 1 120 conservatively in score/ early sketch Ballets Russes 74 22–23 Banes, Sally 292, 293 radical interpretation 22–23 Barber of Seville (Rossini) 120 repeats of the motive 34–35 Baroque period music 199, 222

© in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-02100-6 - Stravinsky and the Russian Period: Sound and Legacy of a Musical Idiom Pieter C. van den Toorn and John McGinness Index More information

314 Index

Bartók, Béla 67–68, 118, 124–29 Cohn, Richard Mikrokosmos 124 “Hyper-Hexatonic Systems” 46 String Quartet No. 3 124, 125, 128 neo-Riemannian operations 46, 147 Violin Concerto 128–29 Comoedia (journal) 292 basic cell conductors and conducting 6, 261 Les Noces 143–44, 146, 148, 164 Ansermet, Ernest 79 as basic melodic pattern of Les Noces 69 Boulez, Pierre 1, 70–71, 230, 295, 301 and “hiccup” motive 69, 117 Kussevitsky, Sergei 252–53 beams see accent markings, beams and slurs modernist fashion 5 “Bear and the Cock” 196–97 Stravinsky’sdiﬃculties with 252–53, Beethoven, Ludwig van 37, 261, 269 258, 263 bells ringing, suggestion of 69–71, 115–17 Cone, Edward T. 4 bell-like motive in Symphonies of Wind “Stravinsky: the Progress of a Method” 4 Instruments 260, 261 Conversations with Stravinsky (Stravinsky/ Berceuses du chat (Stravinsky) 55–56, 73–74 Craft) 120, 174–75, 177, 259–60 Birtwistle, Harrison 251 Copland, Aaron 1 block and layered structures and textures 3–5 Corle, Edwin 13 Les Noces see under meter, motive and Igor Stravinsky 13 alignment in Les Noces; block and Così fan Tutte (Mozart) 120 layered structures Craft, Robert 3, 69 Symphonies of Wind Instruments see Conversations with Stravinsky 120, 174–75, Symphonies of Wind Instruments 177, 259–60 see also melodic repeat structures in the Les Noces 53, 54, 55, 65, 72 music of Stravinsky, Debussy and Stravinsky in Pictures and Documents 69 Rimsky-Korsakov critics of Stravinsky see Stravinsky and his borrowing see direct borrowing critics Boulez, Pierre 1, 70–71, 230, 295, 301 Cross, Jonathan 250–51 Brandenburg Concerto No. 1 (Bach) 120 Cubism 231, 245 Cui, César 175 Cantata (Stravinsky) 289, 290, 291 Capriccio (Stravinsky) 261, 262 Dahl, Vladimir 124 Carnaval (Schumann) 38, 39 Dahlhaus, Carl 8, 263 Carter, Elliott 251 De Staat (Andriessen) 2 “Cat, the Cock and the Fox, The” 75–76 Debussy, Claude 162, 252 Chopin, Frédéric 261–62 Fêtes 239 Nocturnes 261–62 Nocturnes 239 choreography 95, 164–65, 291–92, 292–93 Nuages 239 church music/Russian Church 71–72, 117, 122 Prélude à l’après-midi d’un faune 235, 239 church bells 69–71, 115–17 repeat structures/duplication 235–40, 248, popevki 68, 131 251 cimbalom 75, 188–89, 215, 217, 218–20 developing variation 18, 119, 195, 270, 278 City Life (Reich) 2 Dewey, John 279 Classical period 18, 30–32, 222 Diaghilev, Sergei 54, 55, 56, 74 Classical concerto forms 199 diatonic system 3–5, 9 Classical–Romantic literature 194 octatonic–diatonic interactions see under Classical–Romantic music 194 octatonic–diatonic interactions Classical tradition 259–60 Dichterliebe (Schumann) 280 developing variation 119, 195, 270, 278 Dictionary of the Russian Language distinctions between displacement in (Dahl) 124 Classical style and in Stravinsky 32–33 Die Reihe (music journal) 1 hemiola rhythm see under hemiola direct borrowing homophonic style 34, 195, 270 folk music in Les Noces 120–23, 131 Schoenbergian model of Classical style 34, errors in Stravinsky’s accounts of role of 195, 271 borrowed folk material 66, 121–22 treatment of fragments 114 “Mitusov song” 122, 131

Index 315

folk music in The Rite of Spring 118–19, 122, Eine kleine Nachtmusik see Serenade, Eine 123–24, 129 kleine Nachtmusik opening of The Rite of Spring 131–32 El Dorado (Adams) 2 from Rimsky-Korsakov 244 entrainment 14–15, 16, 22–23, 29 displacement/ metrical displacement 3–6, 8–9, Eurasianist movement 9–10, 285, 288–89, 290 245, 267–69, 270, 300 expression/expressive timing see under central role 176 performance practice and aesthetic conservative/radical interpretations see belief meter and metrical displacement in Stravinsky fabrication/simulation continuity and discontinuity 247, 249–50 folk songs in Les Noces 118–19, 120, 122, critical indictments 271–74 129–31, 135, 176, 222 developing variation 273–74, 275–84 folk songs in Renard 118, 120, 174–75, 222 displacements rare in Rimsky-Korsakov’s unconscious assimilation of Russian popular music 241–44 verse/borrowed materials 176–77, 222 duplications in Debussy’s music not Fêtes (Debussy) 239 undergoing metrical shifts 239 Fink, Robert 262–63 effects of see meter, text and alignment in Firebird, The (Stravinsky) 56, 61, 115, 118–19 Renard Five Easy Pieces (Stravinsky) 221–22 expressive timing 254 Flood, The (Stravinsky) 84–85 Les Noces see meter, motive and alignment Fodor, J. A. 278 in Les Noces; block and layered folk element in Stravinsky’s melodic style see structures under melody and harmony in Les and location and intensity see meter and Noces metrical displacement in Stravinsky Fundamentals of Musical Composition meter dimming and displacement fading 16, (Schoenberg) 35, 41, 277 29–30 and metrical parallelism 16 Garafola, Lynn 292 conflict between 19–20, 22–23, 101–3, 224, Generative Theory of Tonal Music, A (Lerdahl/ 260, 281 Jackendoff) 13–14 origins of displacement see under meter, text Gestalt psychology 21–22 and alignment in Renard Gjerdingen, Robert 22 overruling traditional processes 194 Glass, Philip 2 Renard see under Allegro section of Renard Glinka, Mikhail Ivanovich 56–57 reconsidered; meter, text and alignment Life for the Czar, A 56–57 in Renard Ruslan and Ludmila 56–57 The Rite of Spring 274, 275–77 Gogol, Nicholas 60 “Royal March” in The Soldier’s Tale 11 grouping 17–18, 23, 35–36 in Stravinsky’s music see meter and metrical grouping dissonances 38, 39, 40 displacement in Stravinsky hierarchy in works of the Russian period and superimposition 251 112–13 Symphonies of Wind Instruments 260–61 Renard 180, 203–04 syncopation see syncopation small-scale 179, 190–94, 199 tempo 253–54, 261 dissonance (metrical) Hanslick, Eduard 7–8 coloristic in character 151–53 Harkins, William 65 concept of 38–41 Haydn, Joseph 36–37, 194 displacement dissonance 38–39, 40 London Symphony, Minuet 37 grouping dissonances 38, 39, 40 string quartets 36–37, 273 indirect 33 Hearing in Time (London) 15 and irregularity of Stravinsky’s music 40 Heaven and Earth (Rimsky-Korsakov) 251 Renard 206, 212–13 hemiola 33–34, 109 Classical contexts 33, 36–37 Eagleton, Terry 265 Haydn’s music 36–37, 38 Éditions Russes 253 Minuet from Mozart’s Serenade 33–36, 38

316 Index

hemiola (cont.) analogies to techniques of collage and conflicts involving 110 montage 230–31 grouping dissonances 38 criticism of 230 “hiccup motive” 115, 117, 159–64, 165–66, Les Noces 97, 111–13, 119, 124, 166, 168, 180, 168–69 230–31 origins 68–69, 159–60 The Rite of Spring 230–31 uniting with basic melodic pattern of Les and superimposition 251 Noces 69 Symphonies of Wind Instruments 228–31, Histoire du soldat see Soldier’s Tale, The 246–47, 252 historical background of the Russian period blocks likened to Cubist paintings 231, 245 9–10, 53–81 and tempo 253–54 Les Noces adaptation from Kireyevsky 53, 54, 60–61, Kasavin, Lev 288 63–65, 82, 84 Kastalsky, Alexander 61 development of an idea for a choral work Scenes of Folk Festivals in Old Russia 61 on a Russian peasant wedding 53 Keller, Hans 12, 249, 299–300, 301 musical sources in Les Noces see under Les Kireyevsky, Pyotr 53, 54, 60–61, 63–65, 82, Noces 84, 292 orchestrations 73–75, 77–78, 80–81 Kramer, Jonathan 12, 247–49, 301 process of completion 53–56 Krebs, Harold Russian folk wedding see Russian folk dissonances (metrical) 33 wedding disruption of the meter 39 the scenario 60–66, 82 grouping and displacement dissonances sources viewed as a natural resource to be 39, 40 mined 63–66 shadow meter 40 Renard 54, 55, 73–78, 174 theory of metrical dissonance 38 adaptation from Afanasyev 53, 75–76, levels of metrical hierarchy broken down into 196–97 pulse level and interpretive levels 15–16 authentic nature of music and genre 77 Krumhansl, Carol 52 The Soldier’s Tale 54, 55, 73–74, 78–81 Kundera, Milan 300–1 adaptation from Afanasyev 53, 78 Testaments Betrayed 300–1 relationship between music and text Kussevitsky, Sergei 252–53 78–79 Huron, David 26–27, 257 Lambert, Constant 53 hypermeter 16, 29–30, 33 Le Coq d’or (Rimsky-Korsakov) 252 beats at hypermetrical levels and Lerdahl, Fred displacements 30–32 asymmetry of diatonic collection and step hypermetrical conflict/dissonance 33 sizes 49 Les Noces 109, 166 A Generative Theory of Tonal Music 13–14 Renard 206, 211 meter and groupings 17–18 succeeding hypermetric layers 182 metrical analysis 13–14, 17, 182 hyper-octatonic network 46–47, 155 models of diatonic and octatonic “space” 50–52 Igor Stravinsky (Corle) 13 Lerdahl–Jackendoff model/approach Istomin-Dyutsh collection 66 13–14, 17, 182 Istomin-Liapunov collection 124 Les Noces (Stravinsky) 2, 3, 8, 9–10, 187, 234–35, 265, 277, 299, 301–02 Jackendoff, Ray “anti-humanism” 286, 290 A Generative Theory of Tonal Music 13–14 articulation see under articulation meter and groupings 17–18 block and layered structures see meter, metrical analysis 13–14, 17, 182 motive and alignment in Les Noces; Jakobson, Roman 236 block and layered structures Jeu de Cartes (Stravinsky) 120 choreography 95, 164–65, 291–92, 292–93 Joyce, James 62 criticism see under Stravinsky and his critics juxtaposition 267–68, 270 descriptive factors 7

Index 317

development of/history see under historical melodic repeat structures in the music of background of the Russian period Stravinsky, Debussy and Rimsky- displacement patterns see meter, motive and Korsakov 11, 225–51 alignment in Les Noces; block and antecedents in the music of Debussy and layered structures Rimsky-Korsakov 235–45 Eurasianist movement 9–10, 288–89, 290 Debussy’s music, “duplication” in 235–40, features of ritual in text and music see 248, 250–51 meter, motive and alignment in Rimsky-Korsakov’s music, repeats in Les Noces; block and layered 239–45, 248, 250–51 structures block structures in Symphonies of Wind folk element see melody and harmony in Instruments 96, 225–31, 260–61 Les Noces conservative alternative 232–35 juxtaposition 97, 111–13, 119, 124, 166, 168, continuity and discontinuity 246–50 180, 230–31 juxtaposition see juxtaposition musical sources 66–73 blocks viewed from perspective of Cubism, accidental sources of melody 68–69 moment form, “nowness” 231, 245, assimilation process/making of 247, 248 Stravinsky’s Russian-period style 67–68 continuity and discontinuity 245–51 bells ringing 69–71 discontinuous mode as associational folk lamentation 73 246–47 melodies built from short melodic units superimposition 230, 251 resembling popevki 68, 72 layered structure and suggestion of church Mitusov song 66–67 bells ringing 115–17 Russian Church and liturgical chant 71–72 sliced into “cells” and repeated 114 octatonic scale 43, 46 melody and harmony in Les Noces 10, 114–72 octatonic–diatonic interactions see under fragments and motives 114–17 melody and harmony in Les Noces “hiccup motive” see under hemiola ostinato see under ostinato melody and the folk element 10, 117–31, 174–75 performance and staging 77 “anhemitonic” character of melodic repeats of the motive 35 invention 148, 288 revisited 291–99 developments from early ballets 118–19 sexual politics 292–93 direct borrowings 120–23, 131 solo-instrumental style 56 errors in Stravinsky’s accounts of role of strings, omission of 265–66, 268 borrowed folk material 66, 121–22 success of 53 fabrication/simulation of folk songs springboard role for much Russian music 118–19, 120, 122, 129–31, 135, 176, 222 55–56 issue of melody sensitive and complicated tactus see under tactus 120–21 tempo 259 juxtaposition 119 Levinson, André 292 see also juxtaposition Libman, Lilian 290 Schoenberg’s arguments against using Life for the Czar, A (Glinka) 56–57 borrowed folk/popular music 119–20, 194 Liszt, Franz 10, 146–47 tapping into “folk” memory 118–19, 122 London, Justin 15 tetrachords 123–29 Hearing in Time 15 traits of Russian popular music in other London Symphony, Minuet (Haydn) 37 folk-song repertories 124–29 London Symphony Orchestra 252 octatonic–diatonic interactions 10, 48, 52, Lourié, Arthur 253, 288 107, 135–40, 143–44, 144–45 in the ﬁrst and third tableaux 147–59 Manchester Guardian, The 252–53 in the fourth tableau 159–67 Matinsky, Mikhail 56 octatonic fever 167–72 St. Petersburg Bazaar 56 “ribbons of scales” 168 Mazo, Margarita 58 stratiﬁcation 111–13, 124, 156–57 McDonald, Matthew 274, 297, 299 layering in the performance of laments 59, Mellers, Wilfred 221–22 107–8

318 Index

melodic repeat structures in the music of meter, motive and alignment in Les Noces; block Stravinsky, Debussy and Rimsky-Korsakov and layered structures 10, 82–113, 221 (cont.) absence of form of resolution in lament 110 a Tonnetz for Les Noces: preliminary remarks layers in conflict 109, 110 131–47, 155 multi-layered textures of folk rituals as point of Tonnetze 143 source of stratification 107–8 Messiaen, Olivier 230, 251 additional layered structures 107–11 meter and metrical displacement in Stravinsky attraction of the expressive character of ritual 8–9, 13–41 and ritual performance 84–85 displacement, location, and intensity 28–30 “anti-psychological” message 84–85 location defined by interacting levels of confrontation between individuals and pulsation 28–29 impersonal forces/truths 84 earlier examples of displacement 30–37 score in tune with a lament 85 distinctions between displacement in block structures in the second tableau 96–103 Classical style and Stravinsky 32–33 bride/groom parallel 96–97 hemiola 33–34 displacements/relocations of motives motivic elaboration 34 affecting text 101 entrainment 14–15, 16, 22–23, 29 juxtaposition 97, 111–13 meter and its definitions 13–18 see also juxtaposition displacement 28–29 tress/curls parallel 97 and grouping 17–18 conclusions 111–13 levels of the metrical hierarchy 15–16 final version of the scenario an measurement internalized/assimilated by encapsulation 84 the listener 13–14, 29–30, 39, 93 layered structures in the second tableau 103–7 meter synchronized with “internal clock libretto formed as an encapsulation 82–84 mechanisms” 14, 27 metrical displacement in the first tableau and metrical displacement 16 89–96, 157–58 see also displacement/metrical choreography 95, 164–65 displacement no individual roles 82–83, 197 metrical parallelism 16 precedents in practices surrounding nature 13–14 performance of the ritual play 83–84 salience of the middle range of the metrical repetition 85–88 hierarchy 14, 16 displacement of metrical alignment 88 metrical displacement in Stravinsky 18–28 ritual as public exercise mixed with the alignment see alignment personal 88–89 compromises worked out in the notation meter, text and alignment in Renard 11, 173–95 23–25 accents of singing and Stravinsky’s musical conflict between displacement/metrical idiom 84, 175 parallelism 19–21 cimbalom 75, 188–89, 215, 217, 218–20 conflicted interpretations 23 displacement 164, 174–77, 179–80, 181–82 conservative metrical interpretation role of articulation in processes of metrical 20–21, 22–23, 24, 25, 27, 110, 247 displacement 183–94 predisposition of listeners 27, 28 origins of displacement 174–77 radical metrical interpretation 20–21, freed from constraints of fixed accents 175 22–23, 24, 27, 31–32, 110, 247 pribaoutka music 75–76, 177–82 repetition 18–20 alternative notation 181 response-patterns from an initial point of displacements 179–80, 181–82, 183–84, 185 contact 26–27 English translation 178–79 surprise, reaction response and appraisal Gospodi pomiluy as a coda 76 responses 26–27 prized for sounds as well as substance timings of stages varying 27 177–78 metrical dissonance, concept of 38–41 repetition 180 Stravinsky’s metrical displacements resembling limericks or folk jingles 75–76, 40–41 177–78 tactus see tactus text-setting 180

Index 319

“untranslatable” 177–78 nuance see under performance practice and “rejoicing discovery” of “musical aesthetic belief possibilities” 174–76 role of articulation in processes of metrical octatonic scale and octatonic–diatonic displacement 183–94 interactions 9, 42–52 slurs, beams and accent markings 190–94 distinctions in Stravinsky’s scalar ordering Stravinsky contra Schoenberg 194–95 distinguishing repertories 51 text as phonetic material and displacement of hyper-octatonic network 46–47, 155 words and syllables 176–77 intervention 3–5 unconscious assimilation of Russian popular Les Noces see under melody and harmony in verse 176–77 Les Noces metrical accents 18, 91–92 orderings 42–46 metrical displacement see displacement/ Renard 136, 143–44, 189–90, 214–20 metrical displacement The Rite of Spring 43, 46, 135, 167, 171–72 metrical location 16, 174 octatonic–diatonic interaction 48, 136, metrical parallelism 16, 40, 295 143–44, 146 and displacement see displacement/metrical Russian and neo-classical works 48–52 displacement scale patterns 7 see also melodic repeat structures in the scale step and pitch-class priority 48–49 music of Stravinsky, Debussy and The Soldier’s Tale 136 Rimsky-Korsakov Symphony in Three Movements 167, 172 Meyer, Leonard 256, 279–80 Symphony of Psalms 167, 172 Mikrokosmos (Bartók) 124 Octet (Stravinsky) 74, 115 Miller Who was a Wizard, a Cheat, and a Oedipus Rex (Stravinsky) 84–85, 197 Matchmaker, The (Ablesimov) 56 Orff, Carl 129 “Mitusov song” 66–67, 117, 122, 131 Music for Children 129 Mitusov, Stephan 66–67, 117 ostinato moment form 231, 245, 247, 248 Les Noces 107, 137 Morton, Lawrence 122 basso ostinato 105, 153–54, 155, Mozart, Wolfgang Amadeus 30–31, 37, 237 156–57, 208 Così fan Tutte 120 Renard 17, 22, 188–89, 211–12, 214–15, Serenade, Eine kleine Nachtmusik see 219–20 Serenade; Eine kleine Nachtmusik basso ostinato 174, 197, 202–04, Symphony No. 40 30–31, 33 206–08, 213 Music and Memory (Snyder) 258 The Rite of Spring 40, 132, 133–35 Music for Children (Orff) 129 The Soldier’s Tale 193 Mussorgsky, M. P. 56–57, 175 Myaskovsky, Nicholai 88 Paris Opera Ballet 95 pasodoble 221–22 Narmour, Eugene 237–39 performance practice and aesthetic belief 6–8, neo-classical works 120, 121, 122–23, 140, 11–12, 252–66, 268 222, 262 aesthetics and Stravinsky’s approach to neo-Riemannian tables/operations see under music and performance 262–66 Cohn, Richard; Riemann, Hugo conventions of expressive timing 254–55 New Musicology 285 expressive characterization 258 Newman, Ernest 252–53 expressive response to musical structure by Nightingale, The (Stravinsky) 63, 66, 239 performers 257–58, 261 Nijinska, Bronislava 95, 164–65, 291–92, expressive timing 6–8, 11–12, 254–66 292–93 implications of displacement 254 Nijinsky, Vaslav 292 modernist trends/style 261, 262, 263 Nocturnes (Chopin) 261–62 modifications of timing and punctuation Nocturnes (Debussy) 239 255–57 “Not a Merry Company” (“Ne vesyolaya da standard modifications of performance kompan’itsa”) 66–67, 117, 122, 131 weakening structure 258–59 Nuages (Debussy) 239 opportunities for expressive variation 261–62

320 Index

performance practice and aesthetic belief “rejoicing discovery” of “musical possibilities” (cont.) 174–77, 205 piano 259, 265 date 175–76 rubato and nuance 253, 259–63, 267 freed from constraints of fixed accents 175 debate about role of “expression” and text as phonetic material and displacement of “nuance” 253 words and syllables 176–77 distinction between “execution” and unconscious assimilation of Russian popular “interpretation” 259–60 verse 176–77 strict performance style 5–8, 11–12, 260, Renard (Stravinsky) 3, 8, 9–10, 11, 55–56, 277 262–63, 265, 267 allegro and con brio section see Allegro tempo 259, 267 section of Renard reconsidered conventions of expressive timing 254 articulation see under articulation maintenance of even tempo 6, 253–54, 265 development of/history see under historical and performer’s expressive response 257–58 background of the Russian period requirements for a steady beat structural in displacement see Allegro section of Renard origin 261 reconsidered; meter, text and alignment strict beat carrying an expressive in Renard purpose 261 Eurasianist movement 9–10 Petrushka (Stravinsky) 56, 61, 118–19, 136, 251 grouping see under grouping flexible stresses and elements of displacement imitations of folk songs 118, 120, 222 175–76 folk text set to music becoming scenarios rubato 262 174–75 phenomenal accents 18 meter, text and alignment see meter, text and Philosophy of Modern Music (Adorno) 1, 282, alignment in Renard 283–84 octatonic–diatonic interactions 136, 143–44, Piano Concerto (Stravinsky) 261 189–90, 214–20 Piano Sonata No. 9 (Scriabin) 172 ostinato see under ostinato Picasso, Pablo 231 performance and staging 77, 78 Poetics of Music (Stravinsky) 267 pribaoutka see under meter, text and “polarity” 139–40, 156 alignment in Renard popevki 68, 72, 131 solo-instrumental style 56 Prélude à l’après-midi d’un faune (Debussy) stratification 17, 199, 208–11 235, 239 tactus 183, 184–85, 277 Prélude symphonique (Steinberg) 251 Repp, Bruno 257, 258 pribaoutki Requiem Canticles (Stravinsky) 85 pribaoutka music see under meter, text and Revue musicale 252 alignment in Renard Riemann, Hugo 141 pribaoutki in Les Noces 54–56, 73–74 neo-Riemannian tables/operations 10, 46, prized for sounds as well as substance 177–78 146–47 resembling limericks or folk jingles 75–76, neo-Riemannian theory and analysis 147 177–78 see also Tonnetze “untranslatable” 177–78 Rimsky-Korsakov, Nikolai 56–57, 124, 162, 252 prichitaniye 95 “Antar” Symphony No. 2 147 Princeton School 1 Le Coq d’or 252 Prokofiev, Sergei 88 repeat structures 239–45, 248, 250–51 Pulcinella (Stravinsky) 54 Sadko 240, 244 Pushkin, Alexander 60, 63 Snegurochka (Snow Maiden) 241–44, 245 tolerance and humanism 289 Rachmaninov, Sergei 121 Zemlya i nebo (Heaven and Earth) 251 Rake’s Progress, The (Stravinsky) 120, 262 Rite of Spring, The 12, 56, 74, 112, 251, 265–66, Ramuz, C. F. 78–79 277, 301 realist tradition 175 “anti-humanism” 286–87, 294–95 Reich, Steve 2 “Augurs of Spring” 133, 295, 297 City Life 2 choreography 292 You are (Variations) 2 “Chosen One” 286

Index 321

criticism see under Stravinsky and his critics Schenker, Heinrich 35, 256, 280 “Dance of the Earth” 133 Schloezer, Boris de 13 “Danses des Adolescentes” 132 Schoenberg, Arnold 215, 277 displacement 274, 275–77 arguments against use of borrowed folk or flexible stresses and elements of displacement popular music 119–20, 194 175–76 Classical style 34, 195, 271 folk music and direct borrowing 118–19, 122, conflicts in segmentation between 123–24, 129 Schoenbergian and Schenkerian opening of The Rite of Spring 131–32 approaches 35 “Glorification of the Chosen One” 171–72 folk songs, complete and sufficient juxtaposition 230–31 nature of 194 octatonic scale 43, 46, 135, 167, 171–72 Fundamentals of Musical Composition 35, octatonic–diatonic interaction 48, 136, 41, 277 143–44, 146 great music developing consistently and ostinato 40, 132, 133–35 “equally” 272 premiere 252 motives as smallest building blocks 35 “Procession of the Sage” 273 “shock” in music 271 revisited 295–99 and Stravinsky 1, 11, 194–95, 269, 275, “Ritual of Abduction” 295 283–84 “Ritual of the Rival Tribes” 40, 273 Style and Idea 113 rubato 262 style of developing variation 18, 34, 195 Russian folk tales incorporated 61 Schumann, Robert 15–16 “Sacrificial Dance” 171–72, 286 Carnaval 38, 39 slurs, beams and accent markings 189–93 Dichterliebe 280 tetrachords 124–25, 132, 133, 135, 215, 217 dissonance (metrical) 38–39 Rolland, Romain 9 meter 39 Romantic period 18, 30–31 Scriabin, Alexander 172 Classical–Romantic literature 194 Piano Sonata No. 9 172 Classical–Romantic music 194 Seashore, Carl 254–55 Romantic tradition 259–60 Second Viennese School 1 Rosen, Charles 280 Serenade, Eine kleine Nachtmusik (Mozart) Rossini, Gioachino 33–34 Barber of Seville 120 displacement 39 rubato see under performance practice and hemiola cadence 33–36, 38 aesthetic belief Schenkerian graph of Minuet theme 35 “Runaway Soldier and the Devil, The” 78–79 Sermon, a Narrative, and a Prayer, A Ruslan and Ludmila (Glinka) 56–57 (Stravinsky) 289, 290 “Russian Folk Melodies in The Rite of Spring” sexual politics 292–93 (Taruskin) 122 simulation see fabrication/simulation Russian Folk Tales (Afanasyev) 196–97 slurs see accent markings, beams and slurs Russian folk wedding 53, 56–60 Snegurochka (Snow Maiden) (Rimsky- bridal shower 56, 59 Korsakov ) 241–44, 245 bride’s wailing and laments 57, 58–60, 131 Snyder, Bob 258 portrayals of folk weddings an established Music and Memory 258 part of Russian musical culture 56–57 Soldier’s Tale, The (Stravinsky) 3, 8, 9–10, professional weepers employed to awaken 55–56, 261–62 specific emotions/thoughts 58, 88–89 development of/history see under historical traditions and roles 58 background of the Russian period Ruwet, Nicolas 236–37 Eurasianist movement 9–10 imitations of folk songs 118 Sadko (Rimsky-Korsakov) 240, 244 folk text set to music becoming scenarios St. Petersburg Bazaar (Matinsky) 56 174–75 Scenes of Folk Festivals in Old Russia instrumentation 79–80 (Kastalsky) 61 octatonic–diatonic interactions 136 Schaeffner, André 236 ostinato 193

322 Index

Soldier’s Tale, The (Stravinsky) (cont.) image 3, 5 performance and staging 78 politics 287 “Royal March” 11, 220–24, 261 Petrushka see Petrushka metrical displacement 11 Piano Concerto 261 slurs, beams and accent markings 190–91, Poetics of Music 267 193, 194 politics of Stravinsky’s music, changes in 2–3 solo-instrumental style 56 Pulcinella 54 Spies, Claudio 244 The Rake’s Progress 120, 262 Steinberg, Maximilian 251, 289 “rejoicing discovery” see “rejoicing discovery” Prélude symphonique 251 Renard see Renard Stockhausen, Karlheinz 231 Requiem Canticles 85 stratification 267–68 The Rite of Spring see Rite of Spring, The the allegro in Renard 17, 199, 208–11 and Schoenberg see under Schoenberg applying to horizontal layering of patterns of A Sermon, a Narrative, and a Prayer 289, repetition 4 290 implying a form of displacement 5 setting Russian folk texts to music 174–76 layering in the performance of laments 59, The Soldier’s Tale see Soldier’s Tale, The 107–8 Stravinsky in Pictures and Documents 69 Les Noces see under melody and harmony in in Switzerland 3, 9–10, 54–55, 63, 84 Les Noces Symphonies of Wind Instruments see meaning in Cone’s essay 4 Symphonies of Wind Instruments static/self-enclosed nature of Stravinsky’s Symphony in C 190–91, 194 stratifications 42 Symphony in Three Movements 167, 172 and superimposition 251 Symphony of Psalms see Symphony of Psalms Stravinsky, Igor Three Easy Pieces 221–22 aesthetics and Stravinsky’s approach to “Three Japanese Lyrics” 77 music and performance 262–66 Three Pieces for String Quartet 2, 112, Agon 190–91, 194 175–76 Apollo Musagetes 115, 121 imitations of folk songs 118 autobiography 259 Violin Concerto in D 190–91, 261 Berceuses du chat 55–56, 73–74 Stravinsky and his critics 5, 12, 267–303 Cantata 289, 290, 291 Adorno, T. W. 6, 12, 253–54, 267, 269–71, Capriccio 261, 262 293, 294–95, 297, 299, 300–1 Conversations with Stravinsky 120, 174–75, critical indictments 271–75 177, 259–60 gulf between Stravinsky/Schoenberg The Firebird 56, 61, 115, 118–19 195, 269 Five Easy Pieces 221–22 rebuttals 275, 279, 281–84 The Flood 84–85 Stravinsky the person 284–85, in France and the United States 3, 259, 287 286–87, 291 friends 9 anti-humanism 12, 89, 261, 286–87, 289, 290, Histoire du soldat see Soldier’s Tale, The 294–95, 297 improvising by relating intervals “cold and heartless” 263, 265, 267, 281 rhythmically 173 conclusions 299–303 Jeu de Cartes 120 difficulties with conductors, performers, Les Noces see Les Noces audiences and critics 253, 263 The Nightingale 63, 66, 239 equating Stravinsky’s formalism with a Octet 74, 115 disbelief in connectedness 264 Oedipus Rex 84–85, 197 expression, music lacking 268 the person 3, 284–91 Les Noces 12, 83, 286, 288, 290 anti-humanism 12, 89, 261, 286–87, 289, as “an icy comedy” 88 290, 294–95, 297 Lambert acknowledging the music’s anti-communist 287, 292 special status 53 anti-Semitism 285–86, 289–90, 291 Marxism/anti-Marxism 291–92 compartmental mind 55 revisited 291–99 Eurasian movement 9–10, 285, 288–89, 290 melody, lack of 121

Index 323

metrical alignment and realignment syncopation 160–64, 208, 249 in relief 41 “hiccup motive” see under hemiola “objectivist aesthetics” of Stravinsky 12 repeated melody metrically rebuttals 275–84 displaced 16 The Rite of Spring 12, 273, 274, 286–87 felt by listener 39 role of/reliance on borrowed folk material modest 35–36 121, 194 syncopation as part of a larger pattern of Schoenberg’s arguments against displacement 160–64 using borrowed folk/popular music 119–20, 194 tactus 15–16 Taruskin, Richard 293, 294–95, 297, 299, 301 conﬂicting interpretations 24, 110 “Stravinsky and Us” 263 Les Noces 92–93, 95, 101, 157–58, 277 Stravinsky the person 285–90, 291 subtactus level 92–93 Stravinsky in Pictures and Documents meter centered with the regularity of the (Stravinsky/Craft) 69 tactus 29 “Stravinsky: the Progress of a Method” Renard 183, 184–85, 277 (Cone) 4 sense of meter/displacement fading when Stravinsky, Vera 69 moving away from the tactus 29–30 strict performance style see under performance subtactus levels 16, 29–30, 92–93 practice and aesthetic belief Taruskin, Richard 9, 12, 244, 251, String Quartet No. 3 (Bartók) 124, 261, 263 125, 128 “Russian Folk Melodies in The Rite of Style and Idea (Schoenberg) 35 Spring” 122 Suvchinsky, Pierre 288 “Stravinsky and Us” 263 Svadebka see Les Noces Stravinsky downplaying his music’s Symphonies of Wind Instruments (Stravinsky) folkloristic origins 66, 122 see also under 8, 11, 54, 265, 277, 299, 301 Stravinsky and his critics alternating bars 181 Tchaikovsky, Pyotr Ilyich 56–57, 121 “anti-humanism” 286 Temperley, David 278 articulation 261 tempo see under performance practice and block structures 96, 225–31, 260–61 aesthetic belief the conservative alternative 232–35 Testaments Betrayed (Kundera) 300–1 continuity and discontinuity 246–50 tetrachords 10, 42, 51 chorale 252 Bartók’s music 124–29 “counterpoint of sonorities” 253 and folk songs 123–29 displacement 260–61 Les Noces 106, 114, 135–43, 148, 158–59, 164, imitations of folk songs 118 167, 215, 217, 288 juxtaposition see under juxtaposition Renard 215, 216–18 problems at the premiere 252–53 The Rite of Spring 124–25, 132, 133, 135, initial survival only as a piano 215, 217 arrangement 253 text and meter see meter, text and alignment in subsequent debate about role of Renard “expression” and “nuance” 253 Thomson, Virgil 271 setting of conclusion 115 Three Easy Pieces (Stravinsky) 221–22 strings, omission of 265–66, 268 “Three Japanese Lyrics” (Stravinsky) 77 tempo 259 Three Pieces for String Quartet (Stravinsky) 2, Symphony in C (Stravinsky) 190–91, 194 112, 175–76 Symphony No. 40 (Mozart) 30–31, 33 imitations of folk songs 118 Symphony in Three Movements (Stravinsky) time-spans 18 167, 172 Tonnetze 10, 50, 141, 155 Symphony of Psalms (Stravinsky) 2, 84–85 Renard 216–17, 219 octatonic 167, 172 Tonnetz for Les Noces see under melody and setting of conclusion 115 harmony in Les Noces slurs, beams and accent markings 190–91, triadic 146 193–94 Trubetskoy, Nikolai 288

324 Index

Ulysses (Joyce) 62 Webern, Anton 122–23

Varèse, Edgard 251 You are (Variations) (Reich) 2 Violin Concerto (Bartók) 128–29 Violin Concerto in D (Stravinsky) Zemlya i nebo (Heaven and Earth) 190–91, 261 (Rimsky-Korsakov) 251 Znamennïy chant 72, 97, 118 Wagner, Richard 10, 146–47 Zuckerkandl, Victor 14, 182