ISTANBUL TECHNICAL UNIVERSITY Æ GRADUATE SCHOOL OF ARTS AND SOCIAL SCIENCES THE PERCUSSION USAGE OF IGOR STRAVINSKY IN HIS EARLY BALLETS: THE FIREBIRD, PETRUSHKA AND THE RITE OF SPRING M.A. THESIS İrem DEKELİ Department of Music Music Programme SEPTEMBER 2019 ISTANBUL TECHNICAL UNIVERSITY Æ GRADUATE SCHOOL OF ARTS AND SOCIAL SCIENCES THE PERCUSSION USAGE OF IGOR STRAVINSKY IN HIS EARLY BALLETS: THE FIREBIRD, PETRUSHKA AND THE RITE OF SPRING M.A. THESIS İrem DEKELİ (409161106) Department of Music Music Programme Thesis Advisor: Assoc. Prof. Sıtkı Kandemir BASMACIOĞLU SEPTEMBER 2019 İSTANBUL TEKNİK ÜNİVERSİTESİ Æ SOSYAL BİLİMLER ENSTİTÜSÜ IGOR STRAVİNSKİ’NİN ERKEN DÖNEM BALELERİNDEKİ PERKÜSYON KULLANIMI: ATEŞ KUŞU, PETRUŞKA, BAHAR AYİNİ YÜKSEK LİSANS TEZİ İrem DEKELİ (409161106) Müzik Anabilim Dalı Müzik Programı Tez Danışmanı: Doç. Sıtkı Kandemir BASMACIOĞLU EYLÜL 2019 vi FOREWORD First of all, I would like to thank my advisor Assoc. Prof. Sıtkı Kandemir Basmacıoğlu for his devoted support and guidance. I thank my instructor Amy Salsgiver for her help and guidance throughout my master study at MIAM. She has contributed her knowledge and support to improve me as a percussionist. I thank my friend Anıl Bostancı, Yunus Aydın and my sister Gizem Dekeli for their patience and lend their helping when I needed. I would like to express my deepest appreciation to all MIAM family to giving me this chance to study here and discover new musical areas. Finally, I would like to express my deepest gratitude to my parents for encouraging my musical and educational pursuits. SEPTEMBER 2019 IREM DEKELI vii viii TABLE OF CONTENTS Page FOREWORD .......................................................................................................... v TABLE OF CONTENTS ......................................................................................ixi LIST OF TABLES ................................................................................................. ix LIST OF FIGURES ............................................................................................... xi SUMMARY ......................................................................................................... xiii ÖZET..................................................................................................................... xv 1. INTRODUCTION ............................................................................................... 1 1.1 Thesis Statement............................................................................................ 3 1.2 Purpose.......................................................................................................... 3 1.3 Significance ................................................................................................... 3 1.4 Method .......................................................................................................... 4 1.5 Limits ............................................................................................................ 4 2. BRIEF HISTORY OF PERCUSSION IN ORCHESTRATION FROM BEETHOVEN TO STRAVINSKY .................................................................... 5 2.1 Before Beethoven ............................................................................................ 7 2.2 Beethoven Period .......................................................................................... 9 2.3 After Beethoven ...........................................................................................10 3. STRAVINSKY’S LIFE AND MUSICAL DEVELOPMENT ......................... 17 3.1 Early Life .....................................................................................................17 3.2 Russian Period ..............................................................................................18 3.3 Neo-classical Period .....................................................................................22 3.4 Serial Period .................................................................................................25 4. STRAVINSKY’S EARLY BALLETS AND BALLETS RUSSES .................. 29 4.1 Ballets Russes and Diaghliev ........................................................................29 4.2 The Firebird ..................................................................................................29 4.3 Petrushka ......................................................................................................31 4.4 The Rite of Spring ........................................................................................34 5. PERCUSSION USAGE OF STRAVINSKY IN HIS EARLY BALLETS ...... 35 5.1 The Firebird ..................................................................................................35 5.2 Petrushka ......................................................................................................45 5.3 The Rite of Spring ........................................................................................63 6. FINDINGS .........................................................................................................77 7. CONCLUSION ................................................................................................. 79 REFERENCES ..................................................................................................... 83 APPENDICES ....................................................................................................... 87 APPENDIX A. Works of Igor Stravinsky ...............................................................87 APPENDIX B. Igor Stravinsky’s compositions’ timpani and percussion requirements ............................................................................................................................91 CURRICULUM VITAE ....................................................................................... 93 ix x LIST OF TABLES Page Table 5.1: Instrumentation of The Firebird .............................................................36 Table 5.2: The Firebird (1910) structure .................................................................36 Table 5.3: Instrumentation of Petrushka .................................................................46 Table 5.4: Petrushka (1911) structure ..................................................................... 46 Table 5.5: Instrumentation of The Rite of Spring .................................................... 65 Table 5.6: The Rite of Spring’s structure and synopsis ........................................... 65 Table B.1 Igor Stravinsky’s compositions’ timpani and percussion requirements ... 91 xi xii LIST OF FIGURES Page Figure 2.1: Turkish bass drum .................................................................................. 5 Figure 2.2: Turkish cymbals ..................................................................................... 6 Figure 2.3: The Turkish crescent .............................................................................. 6 Figure 2.4: Early nineteenth century kettledrums ................................................... 10 Figure 2.5: Early Kettledrums from Kastner ........................................................... 10 Figure 2.6: Bell lyre; early version of chromatic glockenspiel ................................ 12 Figure 2.7: Keyboard glockenspiel ......................................................................... 13 Figure 2.8: Four-rowed xylophone diagram ........................................................... 14 Figure 2.9: Two-rowed xylophone diagram ............................................................ 15 Figure 5.1: The Firebird, Bass drum roll and strings, The Firebird opening ............ 37 Figure 5.2: Sibelius, Finland- Bass Drum part ........................................................ 38 Figure 5.3: The Firebird, Bassoon theme and the first xylophone part .................... 39 Figure 5.4: The Firebird xylophone solo ................................................................. 40 Figure 5.5: The Firebird xylophone solo (1919 version) ......................................... 40 Figure.5.6: Kodaly, Hary Janos Suite, mvt.6, xylophone part ................................ 41 Figure.5.7: Khachaturian, Gayne Ballet, xylophone part 1...................................... 42 Figure.5.8: Khachaturian, Gayne Ballet, xylophone part 2...................................... 42 Figure.5.9: Infernal dance timpani stroke (Nr. 184) ................................................ 43 Figure.5.10: The Firebird, Percussion section (Nr. 165) ......................................... 44 Figure.5.11: Shostakovich, Symphony No. 15. Mvt.3, percussion section .............. 45 Figure.5.12: Petrushka chord.................................................................................. 48 Figure.5.13: Petrushka, Song of the Volochobniki theme variation 1 ...................... 48 Figure.5.14: Petrushka, Song of the Volochobniki theme variation 2 ...................... 48 Figure.5.15: Petrushka; cymbal, triangle and tambourine part ................................ 49 Figure.5.16: Petrushka, Tam-tam and cymbal with the orchestration ...................... 50 Figure.5.17: Petrushka, glockenspiel part( first act-carnival) .................................. 50 Figure.5.18: Petrushka; glockenspiel part 2 ............................................................ 51 Figure.5.19: Tchaikovsky, Sleeping Beauty, glockenspiel part ............................... 52 Figure.5.20: Glazunov, Concerto for Violin in A minor,