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Stravinsky As Scholar: Early Music and the American Works

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Stravinsky As Scholar: Early Music and the American Works STRAVINSKY AS SCHOLAR: EARLY MUSIC AND THE AMERICAN WORKS Paul Whitehead Dr. Erol Ücer Center for Advanced Studies in Music (MIAM) Istanbul Technical niversit! (ITÜ) "hitehead#itu.edu.tr Abstract$ I%or Stravins&!'s interest in earl! (usic intensi)ed after his e(i%ration to the nited States* "here the (usic that he studied included ne"l! +ublished +eda%o%ical antholo%ies and other ite(s. ,e refers to earl! (usic at several +oints in the -conversation. boo&s and else"here* !et rarel! broaches directl! the influence of earl! (usic on his o"n. 0evertheless* features of Stravins&!'s (usic can be seen to enga%e "ith the contents of the various earl!1(usic sources available to hi(. This as+ect of his st!le can be studied as an interesting co(+onent of his late1sta%e neo1classicis( and earl! serialis(. Keywords: Stravins&!2 earl! (usic2 antholo%!2 Mass2 Or+heus2 A%on; Canticu( sacru( STRAVINSKY COMO ESTUDIOSO: M SICA ANTI!A E AS O"RAS AMERICANAS Res#$o$ 3 interesse de I%or Stravins&! sobre a (4sica anti%a se intensi)cou de+ois da sua e(i%ra56o aos Estados nidos* onde a (4sica +or ele estudada incluiu antolo%ias +eda%7%icas recente(ente +ublicadas e outros itens. Ele se refere 8 (4sica anti%a e( v9rios (o(entos nos livros de -conversa56o. e e( outros lu%ares* +or:(* rara(ente ad(ite aberta(ente a influ;ncia da (4sica anti%a sobre a sua +r7+ria. Contudo* +ode1se observar as+ectos da (4sica de Stravins&! engajando co( o conte4do de diversas fontes de (4sica anti%a ent6o dis+oníveis. Este as+ecto do seu estilo +ode ser estudado Paul Whitehead* Stravins&! as scholar$ earl! (usic and the a(erican "or&s* 118 Música em Contexto* >ras=lia 0?. @ (AB@C)$ @@D1@CE. co(o u( co(+onente interessante do seu neoclassicis(o tardio e +ri(eiro serialis(o. %a&a'ras(c)a'e: Stravins&!* (4sica anti%a* antolo%ia* Missa* Orfeu* A%on, Canticu( sacru(. The post1World War II !ears "ere a ti(e of vigorous scholarl! activit! in the area of earl! (usic* notabl! in the nited States* "here e(i%r: European scholars encountered a receptive acade(ic environ(ent and perfor(ing ense(bles found sti(ulation in a stead! eFploration of earl!1(usic repertoires hitherto little &no"n. The !ears follo"in% Igor Stravins&!'s arrival in A(erica in @GHG coincided fruitfull! "ith the endeavours of perfor(ers* acade(ics* and publishers in this )eld (both A(erican and European)* and his eFploration of their (onographs and (usic editions (particularl! anthologies) (akes for an interestin% area of stud!. ,arr! ,askell (entions Stravins&!'s contacts "ith perfor(ers 0oah Ireenber% and SaJord Cape ("hile also noting that Stravins&!'s earlier (oves to"ards neo1classicis(* in the @GABs* had had nothin% to do "ith the earl!1 (usic perfor(ance (ove(ent) (@GKK* DE and ABE). Scholars of earl! (usic "ho interested Stravins&! included Ed"ard Lo"ins&!* and he also ad(ired Ernst Mrene&* a fello" e(i%r: composer "ho had (ade a stud! of the (usic of Ockeghe(* and "hose o"n interactions "ith earl! (usic provide some interestin% parallels "ith Stravins&!'s. Loomin% largest a(on% his closest associates is* of course* Nobert Craft* the composer and "riter "hom he (et in @GOK and "ho undoubtedl! pla!ed a (uch larger role than the ta% of -assistant. "ould i(pl!. Craft in later !ears insisted that his close relationshi+ "ith Stravins&! had assu(ed one of guidance as regards artistic Nevista do Progra(a de P7s1Iradua56o e( M4sica da niversidade de >ras=lia Ano IP* volu(e @ (outubro de AB@C) Paul Whitehead* Stravins&! as scholar$ earl! (usic and the a(erican "or&s* Música em Contexto* >ras=lia 0?. @ (AB@C)$ @@D1@CE. 119 direction* and "e can be sure that he facilitated (an! of Stravins&!'s eFplorations of earl! (usic.@ Stravins&!'s neo1classical +hase had taken hold (an! !ears before his (ove to the nited Sates* and for(ed a bac&%round to his ongoin% interaction "ith earl! (usics after his e(i%ration. The critical "or&* the ballet Pulcinella* had been pre(iered in Paris in @GAB* and "as fa(ousl! described b! the composer as -(! discover! of the past* the epi+han! throu%h "hich the "hole of (! late "or& beca(e possible. (@GEA* @@H). The com(ent is intriguin%* and since this "or& is based on actual (usic (b! Pergolesi and others) rather than (erel! its st!le (and a st!le that* (oreover* Stravins&! "as inclined to disparage in later !ears)* it sets a incomplete precedent for his later endeavours* both before and during his A(erican period. Indeed* the st!listic spectru( of Stravins&!'s earl!1(usic interests in the A(erican !ears spanned a "ide range* and engaged in diverse "a!s "ith the techniQues of his late1stage neo1classicis( and eventual (ove to"ards serialis(. The discussion belo" "ill rest on three pre(ises$ that Stravins&!'s com(ents on the relevance of his earl!1(usic discoveries for his o"n compositions are deliberatel! cr!ptic* and leave (an! relevant connections -behind the scenes*. as it "ere2 that the individual "orks of Stravins&! discussed here each present their o"n uniQue compleF of in%redients* in "hich input from earl!1(usic sources varies in t!pe (and arguabl! in relevance)2 and that in Stravins&!'s transitional (usic of the @GOBs and @GCBs archais(s and (odernit! nestle side b! side in (utual comple(entarit!. Stravins&!'s public and private A(erican "ritin%s (the for(er represented (ost volubl! b! the so1called -conversation. books co1 authored "ith Craft) de(onstrate an avid interest in (usic datin% @ The situation is su((arised in Pasler 1GKH. The i(+ortance of Craft for Stravins&! has e(er%ed as a field of stud! in itself. Nevista do Progra(a de P7s1Iradua56o e( M4sica da niversidade de >ras=lia Ano IP* volu(e @ (outubro de AB@C) Paul Whitehead* Stravins&! as scholar$ earl! (usic and the a(erican "or&s* 120 Música em Contexto* >ras=lia 0?. @ (AB@C)$ @@D1@CE. bac& to the Middle Ages (and indeed* be!ond)* one that took hold in earnest durin% the period i((ediatel! follo"in% arrival in the nited States.A As an area for investigation* ho"ever* the relationshi+ bet"een his consu(ption of earl! (usic* as auditor and bro"ser* and his o"n compositional output can soon become tangled and vague. At the ver! least* the role +la!ed b! earl! (usic in the "or&s of these !ears* rather than for(in% an! s!ste(atic pattern* "as sporadic and tailored to the characteristics of the speci)c "or& in Question. 3ften it is not a Question of (odel transfor(ation in an! eFplicit sense2 indeed* an! in/uence usuall! "ent unac&no"ledged b! Stravins&!* if not denied outright* in one or other of the conversation books. Accordin% to Craft* Stravins&! acQuired as (an! of the standard (usic anthologies as he could )nd. These al(ost certainl! provided the (aterial on "hich Stravins&! based his i(pressions of (uch earl! (usic* as "ell as sources for the na(e1dropping sprin&led throu%hout the conversation books. ,e "ould al(ost certainl! have had access to the "idel! circulated A(erican pedagogical anthologies "hich appeared from the @GOBs on"ards* such as the Historical Anthology of Music (hereafter HAM)*H Examples of Music before 1400*O and Masterpieces of Music before 17 0.C >ut these A(erican publications "ere b! no (eans the )rst (usic anthologies* and Stravins&! (a! "ell have had access (either before or after his e(i%ration) to such earlier A These are$ Con!ersations "ith #gor $tra!ins%y (@GCG)* Memories and Commentaries (@GEB)* Expositions and 'e!elopments (@GEA)* 'ialogues and a 'iary (@GEH)* (hemes and Episodes (@GEE)* )etrospecti!es and Conclusions (@GEG)* (hemes and Conclusions (@GDA2 a re+rint of (hemes and Episodes and )etrospecti!es and Conclusions). H Ed. Archibold T. Davison and Willi A+el* 2 vols.* -3riental* Medieval and Renaissance Music*. and ->aroque* Rococo* and Pre1Classical Music) (Ca(brid%e* Mass.$ Harvard niversit! Press* 1GOE (rev. 1GOG) and 1GCB). I a( grateful to Professor Richard Tarus&in for first altertin% me to the si%ni)cance for Stravins&! of these and other collections. O Ed. Harold Gleason (Nochester* N.R.$ East(an School of Music Publications* 1GOA). C Ed. Carl Parrish and John F. Ohl (0e" Ror&$ W. W. Norton* 1GC@). Nevista do Progra(a de P7s1Iradua56o e( M4sica da niversidade de >ras=lia Ano IP* volu(e @ (outubro de AB@C) Paul Whitehead* Stravins&! as scholar$ earl! (usic and the a(erican "or&s* Música em Contexto* >ras=lia 0?. @ (AB@C)$ @@D1@CE. 121 publications as Johannes Wolf's *eschichte &er Mensural-,otation !on 1- 0+14.0*E ,ugo Nie(ann's Musikgeschichte in Beispielen*D Alfred Einstein's Beispielsammlung 0ur Musikgeschichte1 and Arnold Scherin%'s *eschichte &er Musik in Beispielen.G (In addition* Wolf's $ing+ un& $pielmusik aus alterer 2eit10 "as republished in 0e" Ror& (probabl! in @GOE) as Music of Earlier (imes3@@) These anthologies +la!ed an i(portant role in education durin% the @GOBs and @GCBs (and indeed* be!ond$ HAM "as still com(onl! used as a teachin% aid u+ until the @GKBs). Inevitabl!* considerin% the huge repertoire these collections re+resent* their sheer selectivit! can appear as a handica+.
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