Igor Stravinsky (1882 – 1971) 1903 – Started to study with Nikolay Rimsky Korsakof (1844 – 1908) PIECES 1905 – Symphony No. I in Eb, Op. 1, fp St. Petersburg, 1908 EARLY 1906 – Faun and the Shepherdess, suite for mezzo soprano and orchestra, 1910) Op. 2, fp St. Petersburg, 1908 – 1907 – Scherzo Fantastique, for orchestra, Op. 3, fp St. Petersburg, 1909 RUSSIA 1908 – Fireworks, for orchestra, Op. 4, fp St. Petersburg, 1909 (1882 (1882 1909 – The Firebird (Zhar’ptitsa, L’Oiseau de feu), ballet in two scenes for large orchestra, fp Paris, 1910 1910 – Petrushka, ballet in four scenes for large orchestra, fp Paris, 1911 1911 – The Rite of Spring (Vesna svyashchennaya, Le Sacre du printemps), RUSSIAN PHASE 1914) “scenes of pagan Russia” in two parts for large orchestra, fp Paris, 1913 – PARIS (1910 1914 – Les Noces (Svadebka, The Wedding) “Russian choreographic scenes” in four tableaux for four soloists, chorus, four pianos and percussion, fp, Paris 1923. 1916 – Renard (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 – Pulcinella, “balet with song” in one act, for soprano, tenor, bass, (1914 (1914 SWI and chamber orchestra, after Pergolesi, fp. Paris, 1920. 1920 – Symphonies of Wind Instruments (Symphonies d’instruments a vent), for twenty- three wind players, fp. London 1921. 1921 – Mavra, “opera bufa” in one act, for soloists and orchestra, fp Paris,1922. 1922 – Octet, for wind instruments, fp Paris, 1923. 1923 – Concerto, for piano, wind instruments, timpani and double basses, fp Paris,1924. 1924 – Sonata, for piano, fp Donaueschingen, 1925. 1925 – Serenade in A, for piano, fp. Frankfurt, 1925. NEO 1926 – Oedipus Rex, “opera oratorio” in two acts, - CLASSICISM for speaker, soloists, chorus and orchestra, fp Paris 1927. S 1927 – Apollo (Apolon musagéte), ballet in two scenes, for string orchestra, 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 Psalms (Symphonie de Psaumes), (1920 (1920 BACK TO PARI for chorus and orchestra, fp Brussels,1930 1931 – Concerto in D, for violin 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. New York 1937. 1937 – Dumbarton Oaks, Concerto in Eb for chamber orchestra, fp Washington DC, 1938. 1938 – Symphony in C, for orchestra, fp. Chicago,1940 1940 – Dances Concertantes, for chamber orchestra, fp Los Angeles, 1942 1942 – Symhony in three movements, for orchestra, fp New York, 1946. 1944 – Mass, for chorus and double wind quintet, fp Milan,1948. 1945 – Ebony Concerto, for clarinet and jazz band, fp New York, 1945. 1946 – Concerto in D, for string orchestra, fp Basel, 1947. Orpheus, balet in three scenes, for orchestra, fp New York, 1948. 971) 1 1947 – The Rake’s Progress, opera in three acts, for soloists, – chorus and orchestra, fp venice 1951. U.S.A. 1951 – Cantata, for soprano, tenor, women’s chorus and five instruments, (1939 (1939 fp Los Angeles, 1954 1953 – Agon, “balet for twelve dancers”, for orchestra, fp Los Angeles 1957. 1954 – In Memoriam Dylan Thomas, “dirge canons and song” for tenor, string quartet and four trombones, fp Los Angeles, 1954 1955 – Canticum Sacrum ad Honorem Sancti Marci Nominis, SERIALISM for tenor, baritone, chorus and orchestra, fp, Venice 1956. 1957 – Threni, for six soloists, chorus, and orchestra, fp Venice, 1958. Movements, for piano and orchestra, fp New York, 1960. 1960 – A Sermon, a Narrative and a Prayer, for alto and tenor, speaker, chorus and orchestra, fp Basel, 1962. 1965 – Requiem Canticles, for cotralto and bass, chorus and orchestra, fp Princeton University, 1966. 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 composers • Mikhail Glinka (1804-1857): First Russian composer to be recognized as an authentic native voice and equal of his west contemporaries • Usage of the whole tone scale (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 Modest Mussorgsky (1839-1881) o Mily Balakirev (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 orchestration Listening example: Scheherazade, The Sea and Synbad’s Ship • Wagner influence on Korsakov, leit motives- The octatonic usage, octatonism (tritone and minor third relations) and chromaticsm used in order to depict different characters Listening Example: The Golden Cockerel 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 Mlada and the opera Christmas Eve and had asked for something more cheerful than the opera Sadko 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 dance, 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 Moscow on 7 October 1909. The Suite, described as Four Musical Pictures, was compiled by Glazunov and the composer's son-in-law, Maximilian Steinberg. http://bilkent.naxosmusiclibrary.com/work.asp?wid=148941&cid=8.572787 • Research on Asian folk music: 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 Belyayev circle 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 France and the movement called Aestheticism in England during this period.