The full score of Stravinsky's famous and controversial ballet The Rite of Spring. Quality Dover score.
(Boosey & Hawkes Scores/Books). Full-score of the re-engraved 1967 edition of the revised edition from 1947.
Stravinsky. Three Pieces For String Quartet. Shebalin. String Quartet In No. 5 In F Major, Op. 33 (On Slavonic Themes). String Quartet No. 9 In B Minor, Op. 58). Schnitke. String Quartet No. 1 (In C)
Stravinsky's score for the ballet Petrushka, commissioned by Diaghilev for the Ballets Russes, was first performed in Paris in 1911 and was an immediate sensation with the public and the critics. It followed by a year the great success of his score for The Firebird, also produced by the Ballets Russes, and it confirmed Stravinsky's reputation as the most gifted of the younger generation of Russian composers.The ballet had begun in Stravinsky's mind as a "picture of a puppet suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios." Soon Diagh... [Read More]
In 1910, following his successful orchestration of selections for the ballet Les Sylphides, the innovative young composer Igor Stravinsky was commissioned by the director of the Ballets Russes, Serge Diaghilev, to create a completely new score. The dazzling result was The Firebird, a work which brought overnight success to its creator and distinguished him as the most gifted of the younger generation of Russian composers. Based on Russian fairy tales, the piece, according to Grove's Dictionary of Music and Musicians, has "all the coloring of a Russian child's picture book…brilliant orchestra... [Read More]
A pioneer of musical modernism, Igor Stravinsky marked a significant turn in compositional method. He broke free from traditional styles and contemporary trends in the early part of the twentieth century to achieve an entirely new and truly modern aesthetic. Striking a remarkable concurrence of stasis and discontinuity, Stravinsky crafted large-scale compositions out of short repeating melodies, juxtaposed these primary motives with contrasting and varying fragments, and layered on fixed ostinati which repeated at their own rates throughout the piece. Previous scholarship on Stravinsky focuses... [Read More]
Commissioned by Serge Diaghilev for the Ballets Russes, Stravinsky's score for the ballet Petrushka was an immediate sensation at its Paris premiere in 1911. Brilliantly orchestrated in bold, unheard-of instrumental colors, this work is filled with Russian folksongs as well as new and striking harmonies. Alternately poignant and splendidly imposing, the score is one of the most popular and acclaimed works of the twentieth century.Petrushka is published here in full score with English titling, stage directions, and a detailed table of contents. Ideal for study in the classroom, at home, or in t... [Read More]
Pianists will discover new facets of Stravinsky's rare musical personality on every page as they respond to the exciting challenges of two landmarks of 20 th century music
This is a comprehensive biography of Stravinsky for the general reader, placing his work in the context of his times. The book concentrates on his creativity, describing how his musical mind worked and related to his complex and fascinating personality.
Few would dispute that Igor Stravinsky was the greatest composer of the twentieth century. Conductor and writer Robert Craft was his closest colleague and friend. Together they published five acclaimed collections known as the Conversations series, which sprung from informal talks between the two men. In this newly edited and re-structured one-volume version, Craft brings Stravinsky's reflections on his childhood, his family life, professional associates, and personal relationships into sharper focus and places the major compositions in their cultural milieux.
The Rake's Progress is Stravinsky's biggest work and one of the few great operas written since the 1920s, rare too for the unusual quality of its libretto, by Auden and Kallman. Its importance is undisputed, but so too are the problems it raises: problems of both performance and understanding, caused by the irony with which it is so thoroughly permeated. In aspects of style and operatic convention it looks back to the eighteenth century, and in particular to the operas of Mozart and da Ponte, while making references also to other periods, to operas from Monteverdi to Verdi. Yet at the same tim... [Read More]
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