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Home , Agon (ballet), Arthur Honegger, Belyayev circle, Fyodor Stravinsky, Georges Auric, Germaine Tailleferre

(1882 – 1971)

1903 – Started to study with Nikolay Rimsky Korsakof (1844 – 1908)

PIECES 1905 – No. I in Eb, Op. 1, fp St. Petersburg, 1908 EARLY

1906 – Faun and the Shepherdess, suite for mezzo soprano and , 1910)

Op. 2, fp St. Petersburg, 1908 – 1907 – Fantastique, for orchestra, Op. 3, fp St. Petersburg, 1909

RUSSIA 1908 – Fireworks, for orchestra, Op. 4, fp St. Petersburg, 1909

(1882 (1882 1909 – (Zhar’ptitsa, L’Oiseau de feu), in two scenes for large orchestra, fp , 1910

1910 – , ballet in four scenes for large orchestra, fp Paris, 1911

1911 – (Vesna svyashchennaya, Le Sacre du printemps), PHASE RUSSIAN 1914)

“scenes of pagan ” in two parts for large orchestra, fp Paris, 1913

–

PARIS (1910 1914 – (Svadebka, The Wedding) “Russian choreographic scenes”

in four tableaux for four soloists, chorus, four and percussion,

fp, Paris 1923.

1916 – (Bayka), “burlesque to be sung and acted” for four male voices

and fifteen instruments, fp Paris, 1922.

1920)

– 1918 – The Solider’s Tale (L’Histoire du Soldat) “ To be read, played and danced”

in two parts,for three actors, dancer, and seven players, fp Lausanne, 1918. TZERLAND

1919 – , “balet with song” in one act, for soprano, , bass, (1914 (1914

SWI and chamber orchestra, after Pergolesi, fp. Paris, 1920. 1920 – of Wind Instruments (Symphonies d’instruments a vent), for twenty- three wind players, fp. London 1921. 1921 – , “ bufa” in one act, for soloists and orchestra, fp Paris,1922. 1922 – , for wind instruments, fp Paris, 1923. 1923 – , for , wind instruments, and double basses, fp Paris,1924. 1924 – , for piano, fp Donaueschingen, 1925.

1925 – in A, for piano, fp. Frankfurt, 1925. NEO 1926 – , “opera ” in two acts,

-

for speaker, soloists, chorus and orchestra, fp Paris 1927. CLASSICISM S S 1927 – (Apolon musagéte), ballet in two scenes, for , fp Washington DC,1928.

1928 – The Fairy’s Kiss (Le Baiser de la fée),

1939)

– “allegorica ballet”, in four scenes, for orchestra, after Thcaikovsky, fp Paris,1928.

1930 – Symphony of (Symphonie de Psaumes), (1920 (1920

BACKTO PARI for chorus and orchestra, fp Brussels,1930 1931 – Concerto in D, for and orchestra, fp Berlin 1931. 1932 – Concerto, for two solo pianos, fp Paris 1935. 1933 – Persephone (Perséphone), “melodrama” in three scenes, for speaker (woman’s voice), tenor, chorus and orchestra, fp Paris, 1934. 1935 – Jeu de Cartes, “ballet in three deals”, for orchestra, fp. 1937. 1937 – Dumbarton Oaks, Concerto in Eb for chamber orchestra, fp Washington DC, 1938.

U.S.A. (1939 – 1971) 1965 1960 1957 1955 1954 1953 1951 1947 1946 1945 1944 1942 1940 1938 – – – – – – – – – – – – – –

Mass Concertantes Dances Canticles Requiem Nominis Marci Sancti ad Honorem Sacrum Canticum Thomas Dylan In Memoriam 1954 Angeles, Los fp Progress Rake’s The inD Concerto Ebony Concerto Ebony movements three in Symhony C in Symphony ASermon fp New York, 1946. York, New fp 1942 Los Angeles, fp fp Princeton University, 1966. University, Princeton fp Basel,1962. fp orchestra, 1960. York, New fp orchestra, pianoand for Movements, 1956. Venice fp, orchestra, and chorus tenor, baritone, for 1954 Angeles, Los fp , four and string quartet 1951. venice fp orchestra, and chorus 1948. York, New fp Basel,1947. fp 1945. York, New fp fp

Milan,1948. , for chorus and double wind quintet, quintet, wind double and chorus , for , “balet for twelve dancers”, for orchestra, fp Los Angeles 1957. Los Angeles fp orchestra, for dancers”, twelve for , “balet , for , for soprano, tenor, women’s chorus and five instruments, instruments, five and chorus women’s tenor, soprano, , for , balet in three scenes, for orchestra, orchestra, for scenes, three in , balet , a Narrative and a Prayer, for alto and tenor, speaker, chorus and and chorus speaker, tenor, and alto for Prayer, a and Narrative , a

six soloists, chorus, and orchestra, fp Venice, 1958. fp orchestra, and chorus, soloists, six

, for string orchestra, stringorchestra, , for

, for orchestra, fp. Chicago,1940 fp. orchestra, , for , for and jazz band, band, jazz and clarinet , for

, for cotr , for

, opera in thr , opera , for chamber orchestra, orchestra, chamber , for

alto and bass, chorus and orchestra, orchestra, and chorus bass, and alto

, “dirge canons and song” for tenor, for song” and , “dirge canons , for orchestra, , for ee acts, for soloists, soloists, for acts, ee

,

SERIALISM

Music in Russia in the early 20th century

• Reforms of Peter I The Great (1689 -1725) • Until the 19th century secular art music was in the hands of imported Italian, French or German • (1804-1857): First Russian to be recognized as an authentic native voice and equal of his west contemporaries • Usage of the (Listening example: Nuages Gris, Franz Lizst), variation technique applied to folk song, sudden and direct modulations. Ruslan and Lyudmila: Opera in 5 acts by Glinka to lib. by V. F. Shirkov and V. A. Bakhturin based on poem by Pushkin (1820). Comp. 1837 – 42. Prod. St Petersburg 1842, London 1931, NY 1942 (concert). www.oxfordmusiconline.com • Listening Example: Ruslan and Lyudmila Overture Persian Chorus (Non-European influences) • Pressure Years under Alexander I and Nicolas I • Russia’s defeat in Crimea – Alexander II’s liberal reforms – abolishment of serfdom - 1856 • Cultural Awakening: Fyodor Mikhaylovich Dostoyevsky (1822-1881) Crime and Punishment 1866 Loe Tolstoy (1828-1910) War and Peace (1865-69) • The St. Petersburg Conservatory founded in 1862 by Anton Rubinstein • Reaction to “European Mainstream” • Mighty Handful: o Alexander Borodin (1833-1887) o (1839-1881) o (1837-1910) o Cesar Cui (1835-1918) o Nikolay Rimsky Korsakov (1844-1908)

Modest Mussorgsky:

1- Narrow intervallic range 2- Obsessive repetition of rhythmic figures or mixed meters sinking to a cadence (Listening example: Songs and the Dances of Death, Cradle Song) 3- Non-functional harmonic progressions 4- Cadence by a descending fourth Example: Sunless, in the crowd

Nikolay Rimsky Korsakov:

• Nationalism in music during the late 19th century • Mighty Handful’s attitude against Western music and Korsakov’s departure from this thought • Korsakov’s Listening example: Scheherazade, The Sea and Synbad’s Ship • Wagner influence on Korsakov, leit motives- The octatonic usage, octatonism ( and relations) and chromaticsm used in order to depict different characters Listening Example: Suite (King Dodon and his palace): http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=8.572787 http://www.youtube.com/watch?v=gva90C_7NeQ

The Golden Cockerel, Rimsky-Korsakov's last opera, generally known under the French version of its title, Le Coq d'or, was completed in September 1907, but not staged until 1909. The work had aroused the suspicion of the authorities in St. Petersburg, and the composer had, in any case, been on uneasy terms with the royal family. The Tsar himself had personally expressed his dissatisfaction with the completed opera-ballet and the opera and had asked for something more cheerful than the opera for the Imperial Theatres. To The Golden Cockerel there was the added objection that the piece might be regarded as subversive, a satire of the Tsar himself and his handling of the war with Japan.

Based on a poem by Pushkin, the story tells of the miraculous golden cockerel, given by the Astrologer to old King Dodon, a bird that crows at any sign of danger. At the start of the opera, introduced by the Astrologer as a moral tale, the King and his council discuss how to deal with imminent foreign attack. The King's elder son suggests staying safe in the capital city to talk the matter over, while the enemy waits outside, a proposal that wins the applause of the council. The King's younger son suggests that the army should be disbanded and then suddenly mobilized again, to take the enemy by surprise, a plan that is also welcomed. The Astrologer's answer is the golden cockerel, a bird to give warning of danger, a gift for which he will claim a future reward. In the end the King, defeated in battle, takes the exotic Queen Shemakhan, as his wife. The Astrologer re-appears to claim payment, demanding the hand of the Queen Shemakhan. The King angrily refuses and strikes the magician dead, to be killed in his turn by the golden cockerel.

Important themes of the opera include the melody of the golden cockerel and the more exotic theme associated with the Queen, who later is to test the King's manliness in ridiculous fashion by forcing him to , and to return with him in processional triumph to his palace. The Wedding March and the Introduction to the opera (not included in the Suite) were first performed in a concert in St. Petersburg in February 1908, in a programme that included the first performance of Faun and Shepherdess by Rimsky-Korsakov's pupil Igor Stravinsky. The opera was staged only after the composer's death, in on 7 October 1909. The Suite, described as Four Musical Pictures, was compiled by Glazunov and the composer's son-in-law, . http://bilkent.naxosmusiclibrary.com/work.asp?wid=148941&cid=8.572787

• Research on Asian : Old pagan rituals and songs-Themes in Scheherazade, interest in the Kirghiz drumming – Emphasis on percussions in his orchestration • At St. Petersburg Conservatory • From Balakirev circle to

Readings: Michael Oliver, Igor Stravinsky, Phaidon Press limited, London 1995, Chapter I Stephen Walsh. "Stravinsky, Igor." Grove Music Online. Oxford Music Online. Oxford University Press. http://www.oxfordmusiconline.com/subscriber/article/grove/music/52818pg1 1. Background and early years, 1882–1905. 2. 2. Towards ‘The Firebird’, 1902–09.

• Fin de Siècle • Fin de siècle: Klimt, Stefan Zweig, Kafka, Mahler – Vienna and the patronage of Jewish bourgeoisie

of, relating to, characteristic of, or resembling the late 19th-century literary and artistic climate of sophistication, escapism, extreme aestheticism, world-weariness, and fashionable despair. When used in reference to literature, the term essentially describes the movement inaugurated by the Decadent poets of and the movement called Aestheticism in England during this period. http://search.eb.com/eb/article-91255

• Paul Cezanne (1839- 1906) • Claude Monet (1840-1926) • Psychoanalyses

▪ Sigmund Freud – 1899 The Interpretation of Dreams ▪ Symbolist poetry – Debussy Pelleas et Melisande ▪ Justification of trauma and mental diseases ▪ Abandonment of for novel approaches in expression • (1881-1973): , Neo-classicism • (1866-1944): • Aestheticism, the 19th-century theory that art, whether visual or literary, is self-sufficient and need have no moral or social purpose. The doctrine is most succinctly expressed in the phrase ‘l'art pour l'art’ (art for art's sake) attributed to the French philosopher Victor Cousin (1792–1867) in his lectures on Le Vrai, le beau et le bien (1818, published 1836). Wider dissemination came with the publication of Madamoiselle de Maupin (1835) by THÉOPHILE GAUTIER who, in the preface, goes further than Cousin by suggesting that any moral purpose is injurious to art. Aestheticism flourished in England from the 1870s to the 1890s, its principal theorists being WALTER PATER, in the conclusion to The Renaissance (1873), and OSCAR WILDE. The latter's assertion, under cross-examination, that there was no such thing as an immoral book was probably one of the factors that led to his imprisonment and his subsequent disgrace signalled the movement's decline. The foremost practitioners in painting were WHISTLER and ALBERT MOORE. The former's habit of giving his works musical titles (Nocturne in Black and Gold, 1877; Detroit, Inst. of Arts) is symbolic of the Aesthetic movement's desire to emulate music, the most abstract, and therefore purest, of the arts. The excesses of the movement, usually expressed in affected speech and dress, were satirized in Gilbert and Sullivan's opera Patience (1881) and by George du Maurier (1834–96) in the pages of Punch. A more serious and convincing attack on the doctrine was provided by Leo Tolstoy (1828–1910) in What is Art? (1898), which promotes moral worth at the expense of beauty, a position directly opposed to that of the Aesthetes.

David Rodgers http://www.oxfordartonline.com/subscriber/article/opr/t118/e21?q=aestheticism&search=q uick&pos=1&_start=1#firsthit

• Edip Cansever- İsmet Özel discussion • Russian avant - garde: Malevich, Kazimir (Severinovich) (b Kiev, 26 Feb 1878; d Leningrad [now St Petersburg], 15 May 1935). Kazimir Malevich: Airplane Flying, oil on canvas, 581×483 mm, 1915…Russian painter, printmaker, decorative artist and writer of Ukranian birth. One of the pioneers of abstract art, Malevich was a central figure in a succession of avant- garde movements during the period of the Russian revolutions of 1905 and 1917 and immediately after. The style of severe geometric abstraction with which he is most closely associated, SUPREMATISM (see fig.), was a leading force in the development of , the repercussions of which continued to be felt throughout the 20th century. His work was suppressed in Soviet Russia in the 1930s and remained little known during the following two decades. The reassessment of his reputation in the West from the mid-1950s was matched by the renewed influence of his work on the paintings of Ad Reinhardt and on developments such as Zero, Hard-edge painting and . www.oxfordart.online

Airplane Flying, 1915

• The Periods in Stravinsky’s career

• Born in 17 June 1882 In Lomonosov (St. Petersburg) - A celebrated bass singer at the Marinsky theather. Anna Stravinsky – A piano player

• Studies with Korsakov

• Symphony in Eb, a piece that is supervised by Korsakov. A study on the techniques of Tchaikovsky, Wagner, Strauss and Glazunov:

Glazunov, Alexander ( Konstantinovich Glazunov ) (b St Petersburg, 1865 ; d Neuilly‐sur‐Seine, 1936 ). Russ. composer. Pupil of Rimsky‐ Korsakov 1880 – 1 . Balakirev cond. his first sym. in 1882 , the work being hailed as a precocious masterpiece. Glazunov later met Liszt at Weimar and was influenced by his and Wagner's mus. Cond. in Paris 1889 and London 1896 – 7 . Became dir. of St Petersburg Cons. 1905 after which his comps. became fewer. Left Russia 1928 , visited USA 1929 , then lived in Paris. Cosmopolitan rather than nationalist in mus. style. Works incl.: : Raymonda ( 1896 – 7 ); ( 1899 ). ORCH.: Syms. No.1 ( 1881 , rev. 1885 , 1929 ), No.2 ( 1886 ), No.3 ( 1890 ), No.4 ( 1893 ), No.5 ( 1895 ), No.6 ( 1896 ), No.7 ( 1902 ), No.8 ( 1906 ), No.9 (unfinished 1909 , perf. Moscow 1948 ); Suite caractéristique ( 1887 ); ( 1885 ); The Sea ( 1889 ); Carneval ov. ( 1892 ); Chopiniana ( 1893 ); Scènes de ballet ( 1895 ); vn. conc. ( 1904 ); pf. conc. No.1 ( 1910 ), No.2 ( 1917 ); Sax. conc. ( 1931 ). : 7 str. qts. ( 1882 – 1930 ); str. quintet ( 1895 ); sax. qt. ( 1932 ). PIANO: Nos.1 and 2 ( 1901 ); Nocturne ( 1889 ); Grand Concert Waltz ( 1893 ); Suite for 2 pf. ( 1920 ). Also songs.

Symphony No.1 in Eb (1905): https://www.youtube.com/watch?v=Hwh_yVyqJaA

(II. movement – 13:05 with folk song quotation) • 1905 Revolution: https://www.britannica.com/event/Ru ssian-Revolution-of-1905 • The alternative contemporary music concerts and Korsakov’s reaction • Faun and Shepherdess: Songs for mezzo soprano and orchestra. First usages of octatonicsm, Debussy and Mussorgsky influence. https://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=00028944920529 • and : https://www.youtube.com/watch?v=UbYPD1CE5eg • First independent (Korsakov saw the score only after it was finished) orchestral work: and first success. o Program on Maeterlinck’s essay. La vie des abeilles (the life of the bees) (1862- 1949), a Belgium playwright and poet – Debussy’s Pélleas et Melisande (1902) o https://www.youtube.com/watch?v=gHSKXZpZWCk&t=325s (Pierre Boulez)

Maurice Maeterlinck, in full Maurice Polydore-Marie-Bernard Maeterlinck, also called (from 1932) Comte Maeterlinck (b. August 29, 1862, Ghent, Belgium—d. May 6, 1949, Nice, France), Belgian Symbolist poet, playwright, and essayist who won the Nobel Prize for Literature in 1911 for his outstanding works of the Symbolist theatre. He wrote in French and looked mainly to French literary movements for inspiration. http://www.britannica.com/EBchecked/topic/356311/Maurice-Maeterlinck

o Influence of Korsakov’s orchestration and octatonicism o Premiere in 1908 and Stravinsky became the coming man in St. Petersburg musical circles • Death of Korsakov • The performance of Scherzo Fantastique http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=PH11041 Fireworks: http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=0724357468251 • Both works premiered in 1909 ▪ Mahler –Director of New York Philarmonic ▪ http://www.oxfordmusiconline.com/subscriber/article_works/grove/music/40696? q=Mahler&search=quick&pos=1&_start=1

Gustav Klimt: Fulfilment, mixed media on paper; cartoon for frieze (1905–9) in the Palais Stoclet, Brussels; photo credit: Visual Arts Library/Art Resource, NYGustav Klimt: Fulfilment, mixed media on paper; cartoon for frieze (1905–9) in the Palais Stoclet, Brussels; photo credit: Visual Arts Library/Art Resource, NY, http://www.oxfordartonline.com/subscriber/article/img/grove/art/F015559

o Comparison with Strauss and Tchaikovsky o Theodor Adorno’s view on Mahler o 1960 Mahler Renaissance and

Mahler’s “incoherency” and Strauss’ change of style (from expressionism to neo-classicism) – Discussions on Schopenhauer – sin de fiecle atmosphere -

At some level, he recognised the inability of contemporary art to maintain any unified mode of expression, and from Der Rosenkavalier onwards he relished creating moments of grandeur only to undercut them, sometimes in the most jarring fashion. Unlike his contemporary Mahler or the younger Schoenberg, who both held to the 19th-century notion of music as a transcendental, metaphysical phenomenon, Strauss faced the problem of straight on, and he did it in a typically dialectical way, using a Wagnerian musical language to discredit a metaphysical philosophy that gave us that very language. Music, he concluded, could be nothing more than music. His attraction to Nietzsche stemmed from a desire to debunk the Schopenhauerian notion of the ‘denial of the Will’ through music; Nietzsche provided the necessary apparatus for his joyful agnosticism.

In an essay written shortly before his death, Strauss lamented the fact that this aspect of modernity – the recognition of an unbreachable gap between the individual and the collective (Adorno's subject- object dichotomy) – went unnoticed in his works. Implicit in this remark was his realization that for a younger generation of composers a new view of had emerged: one that emphasized technical progress, whereby musical style was viewed as evolving necessarily towards . This Schoenbergian ideology, with its firm German-Romantic roots, was alien to Strauss, who recognized a profound disunity in modern life and saw no reason for music to be any different. He treated musical style in an ahistorical, often critical fashion, which prefigures trends of the late 20th century. Adorno and his followers preached the ‘aesthetic immorality’ of continuing to compose tonal music, which meant that Strauss, deemed guilty of musical faults, was the more easily condemned also for political ones. BryanGilliam. http://www.oxfordmusiconline.com/subscriber/article/grove/music/40117pg6#S40117.6

▪ Premiere of Electra,

• Richard Strauss (1864-1949) o Expressionism

Oskar Kokoschka, “Pietà” (playbill for the Kunstschau Vienna), 1908, published 1909, colour lithograph, 125.5 x 81 cm.Collection Museum derModerne Salzburg. © Fondation Oskar Kokoschka, Vevey / 2013, ProLitteris. http://www.theedgegalerie.com/incredible-figurative-painter/

▪ Debussy:

In 1909 Debussy accepted Fauré’s invitation to become a member of the advisory board of the Conservatoire, and the young composer and conductor André Caplet became his collaborator and confidant. During a visit to Britain at the end of February 1909, the first signs of illness manifested themselves. He returned to composing for the piano and started the first book ofPréludes at the end of the year. Ibéria and Rondes de Printemps received their first performances in 1910, directed by Pierné and the composer, but it was another three years before the completeImages for orchestra were performed together. On his return from a tour to Vienna and Budapest in 1910, Debussy agreed to compose Le martyre de Saint Sébastien, a ‘mystery’ in five acts by Gabriele D’Annunzio, for the dancer Ida Rubinstein. François Lesure and Roy Howat. "Debussy, Claude." Grove Music Online. Oxford Music Online. 21 Feb. 2012 .

Diaghilev, Sergei Pavlovich 1872–1929, Russian ballet impresario and art critic, grad. St. Petersburg Conservatory of Music, 1892. In 1898 he founded an influential journal, [The World of Art]. He took a company of Russian dancers to Paris (1909) and, with the assistance of the painters L. N. Bakst and Aleksandr Benois and the choreographer , founded Diaghilev's , a troupe that was to revolutionize the world of dance. Diaghilev's productions were based on the principles of asymmetry and perpetual motion; both music and scene design became an integral part of the dance. An imposing personality, he was associated with dancers of the first rank, such as , , Anna Pavlova, Alicia Markova, and Anton Dolin. His choreographers included Léonide Massine, , and ; Stravinsky, Debussy, Ravel, Dukas, Falla, Milhaud, and Richard Strauss wrote music that was first performed by his company, and Picasso and Derain often worked with him as scene designers. See biographies by B. Kochno (1970), J. Percival (1971), A. Haskell (1977), and R. Buckle (1979, repr. 1984); J. Drummond, Speaking of Diaghilev (1999); L. Garafola and N. V. N. Baer, eds., The Ballets Russes and Its World (1999). The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2007, Columbia University Press. All rights reserved.

• Diaghilev: http://www.oxfordartonline.com/subscriber/article/grove/art/T022590?q=diaghilev&search =quick&pos=1&_start=1#firsthit • The commission of the firebird. • Before the premiere the arrangements of Grieg’s piano piece for a charity ball where Vaslav Nijinsky made his solo debut. • Premiere in 25 June 1910 • The overnight success – Congratulations by Debussy, Ravel, Proust, Sarah Bernhart. • Michael Fokine’s folk like libretto and old-fashioned pas d’action choreography • Music of the firebird (score video- ) https://www.youtube.com/watch?v=MHmk7yccvws • The Ballet: https://www.youtube.com/watch?v=q0MpwTEkzqQ o Innovative orchestration (glissando harmonics). Debussy influence in woodwinds and superimposition of layers and ostinados. o Avoid of rhythmic squareness o http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=CHAN8783 ▪ Octatonicism (the very beginning f the piece) – Evil and Magic- chromaticism, Good characters in diatonic or folksong: Dance of the princesses ▪ Blocs and in the fast sections – Infernal Dance ▪ Romanticism of the B major finale

• Readings: Stephen Walsh, The Music of Igor Stravinsky, Routledge, 1988, Chapter 3, pages 24-52 • Richard Taruskin, Stravinsky and The Russian Tradition: A biography of the Works through Mavra, Vol. 1, Oxford University Press, pages 672-679

• The Idea of Rite of Spring Nicolas Roerich

• The Idea of Petrushka • Themes and Folk Song Materials: https://www.youtube.com/watch?v=mtnU2M5uNCI • Opening Scene: https://www.youtube.com/watch?v=XvXlFKvpoOg • Petrushka’s Room: https://www.youtube.com/watch?v=HzcsW-_RSjM&feature=relmfu Nijinsky: http://www.youtube.com/watch?v=WzMBhtE0X_k&feature=related Comedia dell’arte Bartok Harvard Lectures: Tonality, modality, anti-Wagnerism, arabesque, single pitch frame work, , polymodality, atonality “My chief concern is not so much with what is known as tonality as one might term the polar attraction of sound, of an interval or even a complex tone” Stravinsky, Poetics of Music, 1942. Orchestration Characterizations in orchestration Suggested Reading: Igor Stravinsky, The Poetics of Music, New York, Simon and Schuster Blocks, Juxtapositions, Ostinados, Stratifications Quotations Comparison with and Suggested reading: Robert P. Morgan, Twentieth Century Music, W.W. Norton &Company Difference between (Schoenberg’s Song Cycle Op.21 on Albert Giraud’s poems) and Petrushka

http://www.youtube.com/watch?v=J4v3dPG-hec (‘Moonstruck Pierrot’). Schoenberg's op. 21 (1912), for female voice, , piccolo, clarinet, , violin, , , and piano; it is a cycle in three parts, each containing seven songs, which are settings of poems by Albert Giraud translated from French into German by O. E. Hartleben. The singer is required to use the technique of SPRECHGESANG. See also EXPRESSIONISM. "Pierrot lunaire." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. Oxford University Press. "Pierrot lunaire." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. Oxford University Press.

Melodrama for female v., pf., fl., picc., cl., bass cl., vn., va., and vc., Op.21, by Schoenberg, comp. 1912 , f.p. Berlin 1912 , London 1923 . Cycle of ‘3 times 7’ songs—in Sprechgesang— to poems by Albert Giraud trans. from Fr. into Ger. by O. E. Hartleben . The titles are: I, Mondestrunken, Colombine, Der Dandy, Eine blasse Wäscherin, Valse de Chopin, Madonna, Der kranke Mond. II, Die Nacht, Gebet an Pierrot, Raub, Rote Messe, Galgenlied, Enthauptung, Die Kreuze. III, Heimweh, Gemeinheit, Parodie, Der Mondfleck, Serenade, Heimfahrt, O alter Duft. "Pierrot Lunaire." The Oxford Dictionary of Music, 2nd ed. rev. Ed. Michael Kennedy. Oxford Music Online. Oxford University Press.

Symbolism- Balmont • Rite of Spring http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=5099996771150 The ballet: https://www.youtube.com/watch?v=jo4sf2wT0wU • From nationalism (end of 19th cent. Romanticism in Russia – Taruskin) neo-nationalism - symbolism’s higher existence: Balmont – Verlaine - Gesamtkunstwerk "Three Japanese Lyrics" and Balmont Songs: https://www.youtube.com/watch?v=xIi-NXUUBjY https://www.youtube.com/watch?v=xIi-NXUUBjY A. Scriabin: Prometheus or the Poem of Fire - Prométhée ou le Poème du feu op. 60 (Boulez): https://www.youtube.com/watch?v=6osJBtQRjoY (See the beginning of 20th Century Section – The influence of ) • Documentary: https://www.youtube.com/watch?v=l8TQH-5Vrhk • Idea of Primitivism • Vaslav Nijinsky’s choreography The mosaic idea Suggested Documentary: The search for Nijinsky's Rite of Spring [videorecording] / a co- production of WNET/New York and Danmarks Radio in association with Czechoslovak Television and BBC, La Sept, NOS Television

Primitivism – interest in rural or ancient cultures rather than the industrialized bourgeois urbanism. An alternative path to “search for truth” in spite of German romanticism/idealism Suggested Reading: Out of Hungary: Bartok, Modernism, and the Cultural Politics of Twentieth-Century Music L. Botstein - Bartok and his World, 1995

• The primitivism/ polarization • Primitivism – interest in rural or ancient cultures rather than the industrialized bourgeois urbanism. An alternative path to “search for truth” in spite of German romanticism/idealism • Suggested Reading: Out of Hungary: Bartok, Modernism, and the Cultural Politics of Twentieth-Century Music L. Botstein - Bartok and his World, 1995

• Neo Primitivism: Russian movement that took its name from Aleksandr Shevchenko’s Neo-primitivizm (1913). This book describes a crude style of painting practised by members of the DONKEY’S TAIL group.Mikhail Larionov, Natal’ya Goncharova, Kazimir Malevich and Shevchenko himself all adopted the style, which was based on the conventions of traditional Russian art forms such as the lubok, the icon and peasant arts and crafts. The term Neo-primitivism is now used to describe a general aspiration towards primitivism in the work of the wider Russian avant-garde during the period 1910–14. It embraces the work of such disparate painters as Chagall, Burlyuk and Pavel Filonov, and poets such as Velimir Khlebnikov and Aleksey Kruchonykh. • Neo-primitivism was to a certain extent inspired by the impact of Expressionism; adherents of both movements shared an admiration for the expressive power of naive art forms and a desire to rediscover a national artistic style. However, in its most extreme form Neo-primitivism was more daring and flamboyant. The surprising colours and gross distortions of Malevich’s painting Floor Polishers (1911; Amsterdam, Stedel. Mus.) and the simplistic bravado of Larionov’s Soldier on a Horse (1912; London, Tate), for example, were decisive developments on Western examples and sprang from a more rigorously defined theoretical basis. Members of Donkey’s Tail held that traditional had lost its distinctive character and identity following the introduction of elegant European standards by Peter the Great. They wished to return to their national artistic origins and to express them anew in painterly form. Consequently they looked back to traditional art forms for inspiration and spurned European fine art traditions of representation Anthony Parton. "Neo-primitivism." Grove Art Online. Oxford Art Online. 22 Dec. 2011.

Futurism: http://www.oxfordartonline.com/subscriber/article/grove/art/T030277?q=futurism&search=quic k&pos=1&_start=1#firsthit

• Fin de Siecle and Stravinsky Futurism and Stravinsky Mechanic and Human Suggested Reading: Daniel Albright, Stravinsky the Music Box and , Gordon and Breach. Harmonic and Orchestral differences between Petrushka and Rite of Spring Innovations in notation Years in Switzerland and Years during the I. World War (1914-1918)

Readings:

1- Michael Oliver Chapter III, 2- Grove Article Chapter 4: http://www.oxfordmusiconline.com/subscriber/article/grove/music/52818pg4#S52818.4

3- Article Ritual and Abstraction - in the attachment http://www.jstor.org/stable/pdf/1567641.pdf?refreqid=excelsior:d783e40d3bdfc4a635abff4235 b497d7 Opening Discussion and a suggested reading: http://www.amazon.com/Dancing-Streets-History-Collective-Joy/dp/0805057234

• The Nightingale: https://www.youtube.com/watch?v=NDvttESHowE • Three Pieces for String Quartet: https://www.youtube.com/watch?v=dUepDjGgUnc • In 1914, he was working on Russian folk music: o In one group: Russian peasant songs. Some with religious words. The vocal range is usually narrow. Some contain a verse form in which the text passes from singer to singer at great speed. o Another group is a Russian tale about various farmyard animals that outwit a marauding fox: Renard • Renard: o Pierre Boulez: http://www.youtube.com/watch?v=eCTDfiSvVI4 http://www.youtube.com/watch?v=3zF8GE5QpOE o Commissioned by . o Libretto by Stravinsky after A. Afanasyev’s Russian folk tales o A new form of musical drama. It is called as a burlesque:

burlesque (bûrlesk') [key][Ital.,=mockery], form of entertainment differing from comedy or farce in that it achieves its effects through caricature, ridicule, and distortion. It differs from satire in that it is devoid of any ethical element. The word first came into use in the 16th cent. in an opera of the Italian Francesco Berni, who called his works burleschi. Early English burlesque often ridiculed celebrated literary works, especially sentimental drama. Beaumont and Fletcher's Knight of the Burning Pestle (1613), Buckingham's The Rehearsal (1671), Gay's Beggar's Opera (1728), Fielding's Tom Thumb (1730), and Sheridan's Critic (1779) may be classed as dramatic burlesque. The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2007, Columbia University Press. All rights reserved.

o The anti-realism: ▪ The cock being lured by a fox who is disguised as a ▪ The vocals don’t take place in action and not identified as characters ▪ Actors come to the stage with a march. They remain on the stage all through the play (it’s only one act). They don’t speak. They are placed in front of the curtain. They leave the stage with the march. ▪ Text is more concerned with word-play and sheer nonsense with narrative ▪ This becomes rhythmic play in Stravinsky’s settings

o The stage costume design by Mikhail Larionov:

Larionov, Mikhail (mēkhuyēl' luriyô'nôf) [key], 1881–1964, Russian painter. Larionov, together with Natalya Goncherova, was the founder of Rayonism, one of the earliest movements in nonfigurative art. Settling in Paris in 1914, Larionov stopped painting in 1915 and designed sets for Diaghilev's Ballet Russe the same year. The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2007, Columbia University Press. All rights reserved.

o The orchestration: The Pierrot Lunaire (1912) influence: Flute, , clarinet, , 2 horns, , percussion, string quartet, bass and piano or cimbalom: (English, Italian m., German n.) also cimbal, cimbelom, cymbalum, cymbalom, tambal, tsymbaly, tsimbl or santouri, a hammer-dulcimer or box zither that has forty-eight strings, which are stretched over a large sounding board. It originated in -century Persia and became known in Hungary by the sixteenth century. It is used for dance music together with a violin and clarinet. The small cymbalom without pedals was made by craftsmen primarily for gypsy musicians. It was later replaced by a larger cymbalom which had four legs and pedals. Both instruments are trapezoidal. The sound-box is made of pine, the wrest plank of maple. The metal strings are struck with long carved sticks. The curved tips can be bare or wrapped with cotton for a different sound. A pedal- cymbalom was designed by Jozsef V. Schunda, a musical instrument manufacturer in Budapest, sometime in the 1870s http://www.dolmetsch.com/defsc1.htm

• Le Noces o https://www.youtube.com/watch?v=RDGl6bcVqSM o https://www.youtube.com/watch?v=jK1AnbMHQeY o Dimitri Pokrovsky Approach: https://www.youtube.com/watch?v=0bzqV6lv0a0

o He started working on this piece before Renard. o Commissioned by Ballet Russes and in the 1922 premiere choreography by Nijinsky o Four choreographic scenes by Stravinsky to words adapted by the composer from Russian traditional sources, for soprano, mezzo-soprano, tenor, and bass soloists, chorus, four pianos, and 17 percussion instruments (including four timpani); it was choreographed by Bronislava Nijinska for Diaghilev's Ballets Russes (Paris, 1923). http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e4740?q=Les+noces&search o His first intention was to compose an orchestral piece (including folk instruments) in a realistic setting. o After Renard, he changed his mind and inclined towards a more stylized setting. o Discussions on stylization:

o By the influence of cimbalom, he had an idea of having 4 pianos and percussion: ▪ Perfectly homogenous ▪ Perfectly impersonal ▪ Perfectly mechanical

• Histoire du Soldat o (The Soldier's Tale’). Work in two parts by Stravinsky, ‘to be read, played and danced’, to a French text by Charles-Ferdinand Ramuz based on a Russian tale; it is for three actors, female dancer, clarinet, bassoon, , , percussion, violin, and (Lausanne, 1918). Stravinsky arranged a five-movement suite from it for violin, clarinet, and piano (1919) and an eight-movement one for the original instrumental ensemble (1920). http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e3275?q=histoire+du+soldat&searcch Ramuz, Charles Ferdinand (shärl ferdēnäN' rämüz') [key], 1878–1947, Swiss novelist. His works deal with the simple people of his native canton of Vaud. Among his major novels are Le Règne de l'esprit malin (1917; tr. The Region of the Evil One, 1922), Présence de la mort (1922; tr. The End of All Men, 1944), La Grand Peur dans la montagne (1926), and Derborence (1935; tr. When the Mountain Fell, 1947). The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2007, Columbia University Press. All rights reserved. o A folk tale from the collections he brought from Russia about a soldier who sells his soul to the devil o 3 actors: The soldier, the devil and the narrator. The dancer as the princess. o The violin symbolizes the devil o Stylization popular styles and Bach chorale: http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=ATM-SC-1559

Part I: Introduction: The Soldier's March Part I: Phew... this isn't a bad sort of spot … (Narrator) Part I Scene 1: Airs by a Stream Part I Scene 1: Give me your fiddle (Devil) Part I Scene 1: The Soldier's March (Reprise) Part I Scene 1: The Soldier's March Part I Scene 1: Hurray, here we are! (Narrator) Part I Scene 2: Pastorale Part I Scene 2: Ah! You dirty cheat, it's you! (Soldier) Part I Scene 2: Pastorale Part I Scene 2: Airs by a Stream Part I Scene 2: They have nothing - and yet, they have it all (Narrator) Part I Scene 2: I have been proud and envied (Soldier) Part I Scene 3: Airs by a Stream Part II: The Soldier's March Part II: Now he comes to another land (Narrator) Part II: The Royal March Part II: They gave the word for the band to play (Narrator) Part II: The Little Concert Part II: Part II: Valse Part II: Ragtime Part II: The Devil's Dance Part II: Little Chorale Part II: The Devil's Song Part II: Great Chorale Part II: Suppose, suppose we went there (Narrator) Part II: Triumphal March of the Devil

o Break with the Russian period o Non-Russian melodies o Stylization of different styles o Influence of popular American music – The influence on the instrumentation: no flute, use of cornet and double bass o Tendency towards neo-classicism o History and musical styles as “material” o https://www.youtube.com/watch?v=cFBUWcTLMZU

Towards Neo Classicism

Clausius, Katharina. “Historical Mirroring, Mirroring History: An Aesthetics of Collaboration in Pulcinella.” The Journal of Musicology, vol. 30, no. 2, 2013, pp. 215–251. JSTOR, www.jstor.org/stable/10.1525/jm.2013.30.2.215.

Arnold Whittall. "Neo-classicism." Grove Music Online. Oxford Music Online. Oxford University Press. Web. http://www.oxfordmusiconline.com/subscriber/article/grove/music/19723

• Pulcinella: o Composed in 1920 “Ballet with song” in one act, for soprano, tenor, bass and chamber orchestra, after Pergolesi, fp. Paris, 1920. o Friendship with Pablo Picasso (1881-1973) and the Pulcinella character o Picasso and Neo classicism o Picasso and Harlequin: 1905: http://www.everypainterpaintshimself.com/article/picassos_seated_harlequin_with_red_backgrou nd_1905 1923: http://www.everypainterpaintshimself.com/article/picassos_seated_harlequin_with_red_backgrou nd_1905 1924: https://www.wikiart.org/en/pablo-picasso/paul-as-harlequin-1924

▪ Neo classicism and its differences with: ➢ Kandinsky and expressionism

Wassily Kandinsky. Composition viii. 1923, Bauhaus Period ➢

Claude Monet, The Japanese Bridge, 1918-24

➢ Cubism

Pablo Picasso. Harlequin and the Woman with a Necklace, 1917

o 1918 Cock and Harlequin by Cocteau - Musical bread is what we want - Against to the intuitive, and individualistic esthetic of (German) romanticism - Debussy mist and Wagner fog is no good for anyone o Eric Satie’s ballet “Parade” in 1917. Story by Cocteau, Costumes and sets by Picasso, choreography by Massine http://www.youtube.com/watch?v=WATQDqjAOUc https://www.youtube.com/watch?v=_Chq1Ty0nyE Excerpt, Petite Fille Americaine: http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=ATM-CD-1612 o Diaghilev’s interest in the Italian audience and the Pulcinella commission – First world war – Spain as a neutral country – Falla and neo classicism in Spain o Return to the Paris Stage o Picasso’s stage design o Choreography and scenario by Leonide Massine o Giovanni Battista Pergolesi (1710-1736) It. composer, violinist, and organist. Studied vn. and comp. at Naples 1725 . Principally talented as composer of comic , the first of which, Salustia, was a failure in Naples in 1732 . In 1733 he comp. Il prigioner superbo, now forgotten except for its 2‐act intermezzo La SERVA padrona, which has remained popular. Other operas, recently revived, incl. Lo frate 'nnamorato ( 1732 ), Adriano in Siria ( 1734 ), and Il flaminio ( 1735 ). His Stabat Mater ( 1736 ) for male sop., male alto, and orch. is still perf. After his early death from tuberculosis, many works were and still are falsely ascribed to him, such as the comic opera Il maestro di musica, concs., and songs. Stravinsky in PULCINELLA ‘recomposed’ material by Pergolesi, but even there some of the attributions are false. http://www.oxfordmusiconline.com/ ▪ Early master of Intermezzi ▪ Comic Opera, Naples and Commedia d’ell Arte: https://www.youtube.com/watch?v=ZUnaNTfTzuM&index=47&list=PLFC9D7928D264D935 &t=115s ▪ La Serva Padrona: https://www.youtube.com/watch?v=0QRml6yGZL0&t=883s&index=49&list=PLFC9D7928D2 64D935 Serva padrona, La (The maid as mistress).

Intermezzo (to Il prigionero superbo) in 2 parts by Pergolesi to lib. by G.A.Federicoafter J. A. Neelli's play; prod. Naples 1733 , Paris 1746 , London 1750 , Baltimore 1790 . http://www.oxfordmusiconline.com/ ▪ Querrelle des Bouffons o http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=0032112BC http://www.youtube.com/watch?v=nFNl6D75Jxo o (b Kingston, NY, 20 Oct 1923). American conductor and writer on music. He graduated from the Juilliard School (BA 1946), and conducted the Chamber Art Society in New York (1947–50). From 1950 to 1968 he was a conductor of the Evenings-on-the-Roof and the Monday Evening Concerts in Los Angeles and also appeared at the Ojai Festival. His main repertory interests were older music (e.g. Monteverdi, Schütz, Bach and Haydn) and contemporary music (e.g. the Second Viennese School, Stockhausen, Varèse and Boulez). His interest in the music of Gesualdo led to recordings (1959, 1962) that brought that composer to popular attention. He also directed the first recordings of the complete works of Webern (1957) and most of Schoenberg’s music, for CBS (1963). He conducted the first performance of Varèse’s Nocturnal and, with the Santa Fe Opera, the American premières of Berg’s Lulu and Hindemith’s Cardillac.

From 1948 Craft was closely allied with Igor Stravinsky, first as assistant, later in a closer, almost filial relationship. Over 23 years he shared more than 150 concerts with Stravinsky, collaborated on seven books, and conducted the world premières of a number of Stravinsky’s later works, notably In Memoriam Dylan Thomas and . Besides his Stravinsky collaborations Craft has written extensively on music and literature, as both a critic and an essayist, mainly for the New York Review of Books. To his writing Craft has brought an individual style and a highly literate, if specialized, intelligence. His works include Stravinsky: Chronicle of a Friendship (1972), which includes sections, some reworked, from the collaborations, Stravinsky in Pictures and Documents (1978), and the collections of criticism Prejudices in Disguise (1974) and Current Convictions (1977). In 1976 Craft received an American Academy of Arts and Letters award for his criticism. Patrick J. Smith and Maureen Buja. "Craft, Robert." Grove Music Online. Oxford Music Online. 13 Mar. 2012 . o Robert Craft’s linear notes (for Naxos recording Pulcinella, the Fairy’s kiss) ▪ Details of the Diaghilev commission ▪ The text ▪ Orchestration

• Symphonies of Wind Instruments

Work by Stravinsky comp. 1918 – 20 , in memory of Debussy. F.p. London June 1921 (cond, Koussevitzky), 1923 (cond. Stokowski ). Pf. vers. of chorale section f.p. Paris January 1921 . Rev. 1945 – 7 , with re‐orch. of chorale and considerable changes in orch. of whole work so that 1947 vers. is virtually a different piece. http://www.oxfordmusiconline.com/

o In Memory of (1862-1918) https://www.youtube.com/watch?v=xOlSzKAZRpE

o Stylization of Orthodox funeral service (Grove music article by Stephan Walsh) o Debussy’s music and Stravinsky’s modeling o Neo classicism and symphonies of wind instruments

Neo-Classicism

• Readings: 1- Stephen Walsh. "Stravinsky, Igor." Grove Music Online. Oxford Music Online. Oxford University Press. Web. http://www.oxfordmusiconline.com/subscriber/article/grove/music/52818pg5 2- Stephan Walsh, Music of Igor Stravinsky, Chapter 6

• 1920 – return to Paris from Switzerland and Rome with the Diaghilev company • Friendship with Ravel, Satie, Cocteau

Cocteau, Jean (zhäN kôktō') [key], 1889–1963, French writer, visual artist, and filmmaker. He experimented audaciously in almost every artistic medium, becoming a leader of the French avant-garde in the 1920s. His first great success was the novel Les Enfants Terribles (1929), which he made into a film in 1950. Surrealistic fantasy suffuses his films and many of his novels and plays. Among his best dramatic works are Orphée (1926) and La Machine infernale (1934, tr. 1936), in which the Orpheus and Oedipus myths are surrealistically adapted to modern circumstances. His films include (1933), Beauty and the Beast (1946), and Orphée (1949). Among other works are ballets, sketches, monologues, whimsical drawings, and the text (written with Stravinsky) for the opera-oratorio Oedipus Rex (1927).See his autobiography; comp. from his writings by R. Phelps (tr. 1970); biographies by F. Brown (1968), E. Sprigge and J.-J. Kihm (1968), and F. Steegmuller (1970); M. Crosland, ed., Cocteau's World (tr. 1972).The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2007, Columbia University Press. All rights reserved.

• Stravinsky influence on the , the anti-Wagnerian or the non-Schonbergian school o o o o o o • 1921-Mavra: o Opera buffa in one act o https://www.youtube.com/watch?v=YtkBGFAY9hc&t=558s

o Dedicated to the memory of Glinkai, Tchaikovsky and Pushkin Pushkin, Aleksandr Sergeyevich (poosh'kin, Rus. ulyiksän'dur syirgā'yuvich pOOsh'kin) [key], 1799–1837, Russian poet and prose writer, among the foremost figures in Russian literature. He was born in Moscow of an old noble family; his mother's grandfather was Abram Hannibal, the black general of Peter the Great. Pushkin showed promise as a poet during his years as a student in a lyceum for young noblemen. After a riotous three years in St. Petersburg society, Pushkin was exiled to S Russia in 1820. His offenses were the ideas expressed in his to Liberty and his satirical verse portraits of figures at court. The same year his fairy romance Russlan and Ludmilla was published; Glinka later adapted it as an opera. In exile Pushkin was strongly moved by the beauty of the Crimea and the Caucasus. The poems The Prisoner of the Caucasus (1822) and The of Bakhchisarai (1824) describe his response to this beauty and reveal the influence of Byron. The Gypsies (1823–24) expresses Pushkin's yearning for freedom. In 1824 he was ordered to his family estate near Pskov, where he remained under the supervision of the emperor until he was pardoned in 1826. Pushkin established the modern poetic language of Russia, using Russian history for the basis of many works, including the poems Poltava (1828) and The Bronze Horseman (1833), glorifying Peter the Great; (1831), the tragic historical drama on which Moussorgsky based an opera; and two works on the peasant uprising of 1773–75, The Captain's Daughter (a short novel, 1837) and The History of the Pugachev Rebellion (1834). Pushkin's masterpiece is Eugene Onegin (1823–31), a novel in verse concerning mutually rejected love. A brilliant poetic achievement, the work contains witty and perceptive descriptions of Russian society of the period. Pushkin's other major works include the dramas Mozart and Salieri and The Stone Guest (both 1830); the folktale The Golden Cockerel (1833), on which Rimsky-Korsakov based an opera; and the short stories Tales by Belkin (1831) and The Queen of Spades (1834). Tchaikovsky based operas on both Eugene Onegin and The Queen of Spades. Pushkin died as a result of a duel with a young French émigré nobleman who was accused, in anonymous letters to the poet, of being the lover of Pushkin's flirtatious young wife. He was buried secretly by government officials whom Lermontov, among others, accused of complicity in the affair. Most of Pushkin's writings are available in English. Bibliography See V. Nabokov's translation of Eugene Onegin (4 vol., 1964); biographies by E. J. Simmons (1937), D. Magarshack (1968), W. N. Vickery (1968), H. Troyat (1946, tr. 1970), R. Edmonds (1995), S. Vitale (tr. 1998), E. Feinstein (2000), and T. J. Binyon (2003); study by J. Bailey (1971). The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2007, Columbia University Press. All rights reserved.

o Michael Oliver “refraction through Stravinsky’s distorting lens”

• Neo- Classicism o “It means absolutely nothing” o 1930 Chronicles of my life: “…..powerless to express anything at all……” o 1946- Poetics of Music o The Influence of John Cocteau ▪ The New Spirit emerged in France at the end of the WW I ▪ Eric Satie’s ballet in 1917. Story by Cocteau, Costumes and sets by Picasso, choreography by Massine

▪ Musique d’ameublement After 1920 his journalistic output increased. During that year there were two festivals of his music and the first performance, with Milhaud, of Musique d'ameublement (music designed to be, like furniture, part of the background) at the Galerie Barbazanges. In 1921 Satie joined the Communist party and began to become increasingly involved in the movement in Paris; he presided at the public trial of André Breton at the Closerie des Lilas café in February 1922. In 1923 a group of young composers (Cliquet- Pleyel, Désormière, Jacob and Sauguet) adopted him as their mascot, and he promoted the ‘École d'Arcueil’ in concerts even after he became intensely occupied in setting the spoken dialogue from Gounod's opera Le médecin malgré lui at Dyaghilev's request for his winter season in Monte Carlo. (This score showed that he was perfectly capable of using directional, 19th-century chromatic harmony when he chose to.) Robert Orledge www.oxfordmusiconline.com

▪ 1918 Cock and Harlequin by Cocteau - Musical bread is what we want - Against to the intuitive, and individualistic esthetic of (German) romanticism - Debussy mist and Wagner fog is no good for anyone

o Back to Bach Movement: ▪ A chilly detachment from emotion ▪ Although he scorned the “neo-classical” label, his works contain in obvious references to classical forms and phraseology ▪ References t baroque style florid ornament, textbook harmonic sequences and cadences, piano figurations, strongly recalling Mozart • Octet for Winds, 1922 https://www.youtube.com/watch?v=YyqLnP0hOnI

o First performance 1923, Paris o A 20th century o “My octet is a musical object. The object has a form and this form is influenced by the musical matter with which is composed. One does not do the same with marble that one does with stone”. o Aristos’s 4 causes – the fourth cause – the reason of existence – discussion on the “powerless to express anything at all” o I. movement: ▪ ▪ . Symmetry of . -Exposition: Eb (main theme), D (sub. Theme) - Recap: E main theme, Eb (sub. Theme) ▪ No blocks, no ostinatos ▪ Canonic texture o II. Movement. Theme and o III. Movement: Motives from previous movements are linked together. A study in and timbre. • Concerto for Piano and Winds, 1923 http://www.youtube.com/watch?v=Wyz92osSr7M o First performance in 1924 in Paris o Slow introduction in the first movement that reminds the notes inégales o Thematic transformation o Piano is active all throughout. The constantly changing- Can be seen as the reflection of Stravinsky’s earlier juxtapositions o Woodwind and brass domination in orchestration rather than string usage o Sonata form can be detached even though the structure is very linear. The ritornello principle of the baroque and classical concerto is not present o Ambiguous tonalities (first movement in A minor/major), with octatonic tendencies

• Piano Sonata, 1924 o https://www.youtube.com/watch?v=TyaMbo6ABUw o Beethoven op.10 Sonata: https://www.youtube.com/watch?v=NGylhxTdq98 o First performance in Donaueschingen in 1925. o “I gave it that name without giving it the classical form such as we find in Clementi, Haydn, Mozart as conditioned by the allegro. I used the original meaning of sonare in contrast to cantare” o First and the third movements are the caricature of the perpetual motion of the late baroque. The third movement has a . o Reflection of his careful Beethoven studies o The figuration resembles Beethoven sonatas, especially the second movement is like Op.10, second movement. Also, the accompaniment and melody in this piece resembles Bach arias. o Analyses- Bonna J. Boettcher, Mellen Research University Press, San Francisco.

Oedipus Rex

• Readings: 1- Richard Taruskin. "Oedipus rex." The New Grove Dictionary of Opera. Ed. Stanley Sadie. Grove Music Online. Oxford Music Online. Oxford University Press. http://www.oxfordmusiconline.com/subscriber/article/grove/music/O903612 2- Mellers, Wilfrid. “Stravinsky's Oedipus as 20th-Century Hero.” The Musical Quarterly, vol. 48, no. 3, 1962, pp. 300–312. JSTOR, JSTOR, www.jstor.org/stable/740799 3- Bauschatz, Paul. “Œdipus: Stravinsky and Cocteau Recompose .” Comparative Literature, vol. 43, no. 2, 1991, pp. 150–170. JSTOR, JSTOR, www.jstor.org/stable/1770801 4- Stephen Walsh. "Stravinsky, Igor." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 31 Oct. 2017. http://www.oxfordmusiconline.com/subscriber/article/grove/music/52818pg6 6. Return to the theatre, 1925–34

• 1926 -Oedipus Rex, “opera oratorio” in two acts, for speaker, soloists, chorus and orchestra, fp Paris 1927. • Libretto by after Sophocles • Video: http://search.eb.com/eb/art-68516/The-ancient-Greeks-created-drama-and-the-Theatre-of- Dionysius

• His libretto is translated to Latin. Stravinsky preferred Latin because of its monumental quality.

Sophocles (sof'uklēz) [key], c.496 B.C.–406 B.C., Greek tragic dramatist, younger contemporary of Aeschylus and older contemporary of Euripides, b. Colonus, near Athens. A man of wealth, charm, and genius, Sophocles was given posts of responsibility in peace and in war by the Athenians. He was a general and a priest; after his death he was worshiped as a hero. At the age of 16 he led the chorus in a paean on the victory of Salamis. He won his first dramatic triumph in 468, over Aeschylus, and thenceforth wrote copiously (he composed about 123 dramas), winning first place about 20 times and never falling lower than second. A definitive innovator in the drama, he added a third actor—thereby tremendously increasing the dramatic possibilities of the medium—increased the size of the chorus, abandoned the trilogy of plays for the self-contained tragedy, and introduced scene painting. Seven complete tragedies (difficult to date), part of a satyr play, and over 1,000 fragments survive. Ajax is perhaps the earliest tragedy; three actors are used but the form is handled imperfectly. In his other plays, whether with two or three actors, the dialogue is polished and smooth. (c.441) contains extraordinarily fine characterization. The most famous of his tragedies (cited by Aristotle as a perfect example of tragedy) is Oedipus Rex or Oedipus Tyrannus (c.429), in which Greek dramatic irony reaches an apex. The plot is based on the Oedipus legend. Electra (date uncertain), the Trachiniae (date uncertain; on the death of by the blood of Nessus), and Philoctetes (409) followed. Oedipus at Colonus was written shortly before Sophocles' death and was produced in 401. A sequel to Oedipus Rex, it tells of the last days and death of Oedipus; it is a quiet, simple play of great beauty and power. There is also extant about half of a satyr play (Ichneutae or The Trackers, written perhaps c.460) on Hermes' theft of Apollo's cattle. The characters in Sophocles are governed in their fate more by their own faults than by the actions of the gods as in the tragedies of Aeschylus. Sophocles is supposed to have said that Aeschylus composed correctly without knowing it; Euripides portrayed people as they were; and he painted people as they ought to be. The translation by Richmond Lattimore and David Grene, The Complete Greek Tragedies (1959) is one of the many English translations of Sophocles. See studies by C. H. Whitman (1951), A. J. A. Waldock (1966), R. P. Winnington-Ingram (1980), and C. Segal (1981). The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2007, Columbia University Press. All rights reserved.

Oedipus (ed'ipus, ē'di–) [key], in Greek legend, son of Laius, king of Thebes, and his wife, Jocasta. Laius had been warned by an oracle that he was fated to be killed by his own son; he therefore abandoned Oedipus on a mountainside. The baby was rescued, however, by a shepherd and brought to the king of Corinth, who adopted him. When Oedipus was grown, he learned from the Delphic oracle that he would kill his father and marry his mother. He fled Corinth to escape this fate, believing his foster parents to be his real parents. At a crossroad he encountered Laius, quarreled with him, and killed him. He continued on to Thebes, where the sphinx was killing all who could not solve her riddle. Oedipus answered it correctly and so won the widowed queen's hand. The prophecy was thus fulfilled. Two sons, Polynices and Eteocles, and two daughters, Antigone and Ismene, were born to the unwittingly incestuous pair. When a plague descended on Thebes, an oracle declared that the only way to rid the land of its pollution was to expel the murderer of Laius. Through a series of painful revelations, brilliantly dramatized by Sophocles in Oedipus Rex, the king learned the truth and in an agony of horror blinded himself. According to Homer, Oedipus continued to reign over Thebes until he was killed in battle; but the more common version is that he was exiled by Creon, Jocasta's brother, and his sons battled for the throne (see Seven against Thebes). In Sophocles' Oedipus at Colonus, Oedipus is guided in his later wanderings by his faithful daughter, Antigone.

• Principal characters masked and motionless (like statues). Chorus remains in a single row, reading their parts and their faces are hidden. • Stravinsky intends to concentrate listeners attention to the purely musical dramatization • There are two acts which are introduced by a narrator who appears in modern dress and speaks in ordinary language. • The distant and monumental quality • Back to the orchestra usage however, the strings are not emphasized.

Brecht, Bertolt (ber'tôlt brekht) [key], 1898–1956, German dramatist and poet, b. Eugen Berthold Friedrich Brecht. His brilliant wit, his outspoken Marxism, and his revolutionary experiments in the theater have made Brecht a vital and controversial force in modern drama. His early plays, such as Baal (1919) and Drums in the Night (1922), are examples of nihilistic expressionism and caused riots at their openings, bringing Brecht instant notoriety. In Mann ist Mann [man is man] (1926), he began to develop his so-called epic theater, in which narrative, montage, self-contained scenes, and rational argument were used to create a shock of realization in the spectator. In order to give the audience a more objective perspective on the action, Brecht promoted a style of acting and staging that created a distancing effect. Instead of identifying with their roles, actors were instructed merely to demonstrate the actions of the characters they portrayed. Sets and lighting were designed to prevent the illusion of the theater from gaining sway, and Brecht revealed elements of the staging process itself. Songs played an important part—for these Brecht wrote the lyrics, with music by Hindemith, , Hanns Eisler, and others. The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2007, Columbia University Press. All rights reserved.

• Influences:

o Chorus sections in Handel (1685-1759) used in the same function as the Greek choruses o The monumentality of Oedipus Rex and the artificiality of Handel Operas (music is more important than text. Italian operas for English audience) o Listening example: Handel Oratorio - The sons of Israel do mourn o The Gluck (1714-1787) reform: non-ornamental vocal line. The French tradition of divertissement. o Listening Example: Gluck, Orfeo ed Euridice, Act II, Scene 2 Ballo, Chorus o Verdi (1813-1901)

▪ The anti-Wagnerian approach:

Singer against the orchestra Melody against polyphony Simplicity against complexity o Listening Example: Giuseppe Verdi, Il Travatore, Act IV, Scene 1, Miserere o Differences and parallels between Verdi and Stravinsky’s Oedipus Rex ❖ http://www.youtube.com/watch?v=BcGT9CC_kO8&feature=BFp&list=PLFC5BA9 F38ABC195C ❖ http://www.youtube.com/watch?v=1kS1mj6N9rg&feature=related ❖ Stage: https://www.youtube.com/watch?v=fl4_wkRM6eQ

▪ The fate motif (the minor third in Oediupus) – The reminiscence motif of Verdi different from Wagner’s leit motif ▪ Humming choruses (sotto voce) singing narrow ranged melodies ▪ The semi-formally planned scenes (as in the late period of Verdi) ▪ Minor third interval in the fate motive and overall key relations: Opening key – Db/Bb minor to D/B minor ▪ These tone differences denoted in the stage design ▪ Listening example: Introducing the messenger and Oedipus’ aria

http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=291228

Readings:

1- Mellers, Wilfrid. “1930: .” Tempo, no. 97, 1971, pp. 19–27. JSTOR, JSTOR, www.jstor.org/stable/944301 2- Stephen Walsh, The Music of Igor Stravinsky, Chapter 7, pages 142-158 3- Stephen Walsh. "Stravinsky, Igor." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 31 Oct. 2017. http://www.oxfordmusiconline.com/subscriber/article/grove/music/52818pg6 6. Return to the theatre, 1925–34

Apollon Musagete https://www.youtube.com/watch?v=yfq4hbAVKOg

The balet de cour tradition in 18th century, references to Lully and Delibes

The ballet de cour enjoyed a brief revival in the early 18th century when the young Louis XV and his seigneurs danced at the Tuileries in L’inconnu (1720, music by Lalande), Les folies de Cardenio (1720, music by Lalande) and Les élémens (1721, music by Destouches and Lalande) – works that owe as much to opera as the ballet de cour. In 1729 the Ballet du Parnasse (fragments from Collin de Blamont, Lully, Campra, Destouches and Mouret) was danced at Versailles to celebrate the birth of the dauphin. By 1754, however, Cahusac stated that it was a ‘genre which no longer exists’ (La danse ancienne et moderne). At the Jesuit Collège Louis-le-Grand, its form was maintained up to 1761 (when the Jesuits were expelled from France) as part of the ceremony marking the end of each scholastic year. James R. Anthony www.oxfordmusiconline.com

• Choreography by George Balanchine. Stravinsky describes this as the most satisfying in his artistic life: http://www.youtube.com/watch?v=GdckGZXzhvw&feature=related • “The unity of moral and esthetic” (Stephen Walsh, Grove Music Article) • Contradictory to the religious expressionism in Symphony of the Psalms and Oedipus Rex • “No longer an attitude of neo-classicism or anti-romanticism, a response to an intimate need of mind and heart”. (Stephen Walsh, Grove Music Article) • The first of his white ballets • String orchestra and the pan- diatonicism • Lully overture influence in the prologue • Variation not transformation of a single theme

Fairy’s Kiss

• Montage of Stravinsky’s original music, early pieces and songs of Tchaikovsky • Unlike Pulcinella, most of the music composed by Stravinsky • Tchaikovsky’s melodies are altered, developed and elaborated. • The result is a dance symphony • Usage of romantic sources in an anti-romantic structure • http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=8.557503 • http://www.youtube.com/watch?v=Gm-8_9vOLEA

Symphony of the Psalms

• Commissioned for the 50th anniversary of Boston Symphony • As Stravinsky asked for the text is in Latin. The expression of his religious faith • “This is not a symphony into which I put some psalms but it is the singing of the psalms which I symphonize” • The third title that he uses the term “Symphony” (Symp. In Eb, Symphonies of Wind Instruments and Symphony of the Psalms” https://www.youtube.com/watch?v=VUSfrgPQjRM http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=8.557504 • First movement: o “Hear my Prayer”. Asking God to hear human supplication o Min 3 fate motive (reminiscence of Oedipus Rex) o Use of Byzantian modes, octatonicism • Second Movement: o Opens with a fugue in the woodwinds that reminds the “Musical Offering” theme o Choral theme in the stile antico. “Waiting for the Lord” o The two are combined • Third Movement: An allegro for Thanks giving.

Persephone • “melodrama” in three scenes, for speaker (woman’s voice), tenor, chorus and orchestra, fp Paris, 1934.

Melodrama in three scenes by igor Stravinsky to a text by André Gide; Paris, Opéra, 30 April 1934. Stravinsky included this neo-classical extravaganza in a discussion of ‘three operas’ in Memories and Commentaries (1960), although the title role, commissioned and first performed by the famous mime Ida Rubinstein, is spoken rather than sung. Gide’s original conception was of a ‘symphonic ballet’ consisting of recitation, dances and choral song. Later, at the composer’s suggestion, he added the tenor role, created by René Maison, of the priest Eumolpus, who narrates the myth of the daughter of the earth goddess Demeter, seduced and raped by Pluto, whose yearly peregrinations between surface world and underworld give rise to the seasons. In Gide’s version Persephone goes to Hades willingly, out of compassion for the Shades, thus turning the myth into a Christian parable. The three scenes – The Abduction of Persephone, Persephone in the Underworld, Persephone Reborn – correspond to the seasonal round. Since the composer made the suggestion in Dialogues and a Diary (1963), the title role is often split between two performers, a dancer or mime and a reciter. Richard Taruskin. www.oxfordmusiconline.com

Gide, André (äNdrā' zhēd) [key], 1869–1951, French writer. He established a reputation as an unconventional novelist with The Immoralist (1902, tr. 1930), a partly autobiographical work in which he portrays a young man contravening ordinary moral standards in his search for self-fulfillment. In this and other major novels, including Strait Is the Gate (1909, tr. 1924), Lafcadio's Adventures (1914, tr. 1927), and The Counterfeiters (1926, tr. 1927), Gide shows individuals seeking out their own natures, which may be at conflict with prevailing ethical concepts. Raised as a Protestant, Gide became a leader of French liberal thought and was one of the founders (1909) of the influential Nouvelle Revue française. He was controversial for his frank defense of homosexuality and for his espousal of Communism and his subsequent disavowal of it after a visit to the Soviet Union. His voluminous writings, which include plays, stories, and essays, show great diversity of subjects and literary techniques. His use of myth to embody his thought is evident in such early satirical tales as Prometheus Misbound (1899, tr. 1933). His Travels in the Congo (1927, tr. 1929) and Retour du Tchad (1928) helped bring about reform of French colonial policy in Africa. In 1947 he was awarded the Nobel Prize in Literature.

The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2007, Columbia University Press. All rights reserved.

Melodrama: A kind of drama, or a part of a drama, in which the action is carried forward by the protagonist speaking in the pauses of, and later commonly during, a musical accompaniment. (It is distinct from the Italian melodramma, meaning simply ‘musical drama’, or opera.) The brief orchestral passages that separate the dialogues are clearly related to, and presumably in a sense derived from, those in accompanied operatic recitative (just as the pantomimic movement and gesture of a scene like Beckmesser’s discovery of the song manuscript in Die Meistersinger von Nürnberg, Act 3, has its antecedents in the ballet- pantomime). The term ‘melodrama’ is also used in a less specifically musical sense to denote a kind of play, particularly popular in the 19th century (more commonly without a musical accompaniment) in which romantic and frequently sensational happenings that follow certain conventions are carried through until at the end Good triumphs and Evil is frustrated. This article is concerned almost entirely with the first of these definitions. Peter Branscombe. www.oxfordmusiconline.com

• https://www.youtube.com/watch?v=Fa_qpv4PA64&t=380s

• His first setting of the French language • Third based smooth harmonies. A clear detachment from the idea of modernism

Years in the United States

• The death of his elder daughter, his wife and then his mother in 1938 • His several works were coldly received in Europe • His tours in the U.S.A were successful and he had important admirers like

Boulanger, Nadia 1887–1979, French conductor and musician, b. Paris. Boulanger was considered an outstanding teacher of composition. She studied at the Paris Conservatory, where in 1945 she became professor. Boulanger taught at the École normale de Musique, Paris, and (from 1921) at the American Conservatory, Fontainebleau, becoming its director in 1950. As the teacher of such American composers as , , , Roy Harris, and Marc Blitzstein, she has profoundly influenced American music. She often visited the United States, as teacher, lecturer, organist, and guest conductor of the Boston Symphony (1938) and the (1939). She was noted for her conducting of choral works. Boulanger's sister Lily (1893–1918) was a distinguished composer. The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2007, Columbia University Press. All rights reserved.

• Financial problems in the first years. He wrote music for jazz bands. Attempts to write film music and he composed a ballet score to a Broadway venue. • After a residency in Harvard University moved to California, L.A. and stayed there for 20 years • o https://www.youtube.com/watch?v=bmnfwnfnKBA o First performance in 1940 o Commissioned for the 50th anniversary of the Chicago Symphony Orchestra, inscribed as “to the Glory of God”. o Four movements. Cyclical form. All movements are based on the same three note motive. B-C-G (a motive with tonal implications) o Motivic development is the main idea. Tonalities are clear. o The classical sonata organization. First mov. In sonata allegro form. Second is a slow movement in a large ternary form. Third movement is an allegretto in large ternary with constant orchestration and time signature changes. Last movement is a finale with a slow introduction • Symphony in three movements o https://www.youtube.com/watch?v=n9oY_cikDl0 o Written in 1942 during the WWII. Premiered in New York in 1946 o Programmatic structure that celebrates the triumph against Nazis • Concerto in D , 1947 o Reconstruction of the Brandenburg Concerto https://www.youtube.com/watch?v=uV6YGHr9BMU

Brandenburg . Six concerti grossi by Bach, bwv1046–51 (1711–20), dedicated to Christian Ludwig, Margrave of Brandenburg; Bach described them as ‘Concerts avec plusieurs instruments’. They are significant for their unusual combinations of instruments and textures and for the way in which Bach moved away from conventional concerto grosso form; for example, no. 3 is for three groups of strings (a violin, viola, and cello in each), and no. 4 is for a violin and two recorders in the concertino and strings and continuo in the ripieno. www.oxfordmusiconline.com

o Stravinsky uses the idea of the 3rd Brandenburg Concerto. In which rather than the ripieno-concertino distinction, the strings are in three groups and all the instruments functions as both soloist and the part of the tutti. http://www.youtube.com/watch?v=hZ9qWpa2rIg o He also models the structure of the 4th and 6th concertos that combine the ritornello form with the idea of da capo. http://www.youtube.com/watch?v=MDrLX7FXba4

Readings:

Michael Oliver, Chapter 5 Paul Griffiths, A Rakes Progress, Chapters 1,2 and 8

After the War Europe –René Leibowitz (1913-1972) and Boulez against Stravinsky – a new scandal at the performance of Norwegian Moods (suite derived from film music) http://www.youtube.com/watch?v=1uRaj7oDkgI

Mass

• https://www.youtube.com/watch?v=vjn4-kal2ZI • He started to write this piece in 1944, finished in 1948 • Mass for chorus and double wind quintet • A completed mass: Kyrie, Gloria, Credo, Sanctus, Agnus Dei • Antique solemnity of the piece announces a new phase • Crossing the limits of time towards a single great music. • Symbolic reference to “Josquin and Ockeghem”. He mentions Hieronymous Bosch (1450- 1516) that when he painted the Hell in his vision as a sign of redemption. (Stravinsky now relates his art with spiritual expressionism) This sign is the source for the polyphonic miracles of Josquin and Ockeghem.

• http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=8.557504 • “Renaissance Polyphony in the Kyrie, medieval organum in the Gloria, chant in the Credo, and the Baroque polychoral concerto in the Agnus Dei. The instrumentation of the work, which consists of ten brass and woodwind instruments in addition to the chorus, is a reminiscence of the chamber wind ensembles favored by Stravinsky from the time of Renard to the Piano Concerto. The instrumentation also has precedents in Renaissance sacred music in which choral parts were often joined by wind instruments” (Music of the Twentieth Century an anthology, Bryan R. Sims) • Some passages (especially solo passages with melismas) resembles Machaut • Polyphony and cori spezatti usage is only a symbolic reference to Josquin • Close reminiscent of “Symphonies of Wind Instruments” • The overall structure with blocks juxtaposed with great contrast resembles Monteverdi’s Vespers. The only difference is the Mass does not contain basso continuo and there are no monadic passages. • http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=SIGCD109

Orpheus

• Commissioned by Lincoln Kirstein for the of New York. First performance in 1948. • Choreography by George Balanchine • https://www.youtube.com/watch?v=sL07urF6Njc

• Even though a classical subject is used this work is different from other white ballets and departs from neo-classicism in a subtle way. This work is looking towards his late period. • Lyrical pan diatonic passages are used along with more chromatic counterpoint. • In this polyphonic texture new timbral and spatial dimensions are explored • The contrasting use of different registers and constant shift of solo instruments resemble Webern • Ostinatos with a strong pulse are not used. Stravinsky’s idea of blocks has changed.

Rake’s Progress

• Before finishing Orpheus and Mass (he was facing a creative crisis at that time), he visited an exhibition of English art in Chicago Art Institute. He was impressed by William Hogarth’s (1697-1764) works Hogarth, William Hogarth, William, 1697–1764, English painter, satirist, engraver, and art theorist, b. London. At the age of 15 he was apprenticed to a silver-plate engraver. He soon made engravings on copper for bookplates and illustrations—notably those for Butler's Hudibras (1726). He studied drawing with Thornhill, whose daughter he married in 1729. Hogarth tried to earn a living with small portraits and portrait groups, but his first real success came in 1732 with a series of six morality pictures, The Harlot's Progress. He first painted, then engraved them, selling subscriptions for the prints, which had great popularity. The Rake's Progress, a similar series, appeared in 1735. The series Marriage à la Mode (1745) is often considered his masterpiece. With a wealth of detail and brilliant characterization he depicts the profligate and inane existence of a fashionable young couple. Hogarth invented a sort of visual shorthand that enabled him to recall with perfect clarity whatever sight he wished to retain. He became, by this means, an enormously learned artist possessing a profound visual understanding. His Analysis of Beauty (1753) is a brilliant formal exposition of the rococo aesthetic. In such prints as Gin Lane and Four Stages of Cruelty Hogarth is very sincerely didactic, employing the weapons of satire against the cruelty, stupidity, and bombast that he observed in all levels of the society of his day. His portraits The Shrimp Girl (National Gall., London) and Captain Coram (1740) are two of the masterpieces of British painting. Hogarth's major works are in England. In the Metropolitan Museum and the Frick Collection possess examples of his work. See his Analysis of Beauty, ed. by J. Burke (1955); his graphic works, ed. by R. Paulson (rev. ed. 1970); biographies by P. Quennell (1955), R. Paulson (1971), D. Bindman (1985), and J. Uglow (1997); studies by F. Antal (1962), G. C. Lichtenberg (tr. 1966), S. Shesgreen (1982), and L. S. Cowley (1988). The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2007, Columbia University Press. All rights reserved.

The Tavern Scene

• Opera in three acts (nine scenes and an epilogue) by igor Stravinsky to a libretto by w. h. Auden and chester Kallman after William Hogarth’s series of paintings (1732–3); Venice, Teatro La Fenice, 11 September 1951. Richard Taruskin. www.oxfordmusiconline.com • Even though Hogart’s paintings offers a light-weight ballad opera. Stravinsky models Mozart’s Da Ponte Operas especially Don Giovanni since both operas are on the same subject. Also the moral ending at the end of both operas are very similar • The structure models Mozart operas with the ensembles, recitatives and arias • Also in some parts the melodic lines resemble Mozart like the overture of the second act. • Listening Example: Metropolitan Opera Act I, Scene I https://www.youtube.com/watch?v=MMV-bvMtTh4

Overture to Act II: http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=8.111266-67 Overture to Act II and Don Giovanni overture: http://bilkent.naxosmusiclibrary.com/catalogue/item.asp?cid=0724356786950 • Video example: London Philarmony Orchestra, Felicity Lott, Samuel Ramey https://www.youtube.com/watch?v=fW3emvW3TI0 http://www.youtube.com/watch?v=flN9OBlfsjg Samuel Ramey as Don Giovanni in the Commandatore scene https://www.youtube.com/watch?v=hY_bQpmEBc0

Readings : 1- Stephen Walsh Chapter 11, (you can take your copy from the student room 3rd floor) 2- Stephen Walsh. "Stravinsky, Igor." Grove Music Online. Oxford Music Online. Oxford University Press. http://www.oxfordmusiconline.com/subscriber/article/grove/music/52818pg9 3- Alm, Irene. “Stravinsky, Balanchine, and Agon: An Analysis Based on the Collaborative Process.” The Journal of Musicology, vol. 7, no. 2, 1989, pp. 254–269. JSTOR, JSTOR, www.jstor.org/stable/763771

• Post-World War atmosphere and new avant-gardism Robert Craft’s position between Stravinsky and First serialist Works: Agon Influence of Renaissance dances Venetian School Influence – blocks, juxtaposition of styles, eclecticism Idea of centricity Octatonicism based on modal cells and its resemblance to rotational approach in Stravinsky’s serialism In Memoriam Dylan Thomas Difference between Schoenberg and Webern's approach to serialism Canons and Webern influence Spatialism – blocks with different approaches of sonority/timbre/mass – volume of sound: Webern, Venetian School and Boulez Influences

• Early Music influences Grand Concerto and Polychoral Medium Organ versets, stile concitato Rotational technique Suggested Reading: Joseph Straus, Post-Tonal Theory Chapter 6, Prentice Hall, Inc. Suggested Reading: Milton Babbitt, “Stravinsky’s Verticals and Schoenberg’s Diagonal’s: A Twist of Fate, Stravinsky’s Retrospectives, Edited by Ethan Haimo and Paul Johnson, University of Nebraska Press Threni Movements di Venosa and the idea of juxtaposition A Sermon, a narrative and a prayer Requiem Canticles Serialism and expressionism Objectivism Comparison to Oliver Messiaen, Pierre Boulez, Stockhausen Stravinsky’s thoughts on contextualism and ontology