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Download After the Rite: Stravinsky's Path to Neoclassicism by Maureen A. Carr PDF

By Maureen A. Carr

The rebellion that erupted in the course of the 1913 debut of Igor Stravinsky's The ceremony of Spring on the Théâtre des Champs-Élysées in Paris has lengthy been the most notorious and fascinating occasions of recent musical heritage. The 3rd in a chain of works commissioned for Sergei Diaghalev's famed Ballets Russes, the piece mixed disjunct tonalities, provocative rhythms, and radical choreography that threw spectators and critics right into a literal fury. within the century following its most suitable, The ceremony of Spring has confirmed its earth-shattering impression on tune and dance in addition to its immortalizing impact on Stravinsky and his occupation. Having won overseas realization by way of the age of 30, what path might Stravinsky's direction ahead take after the momentus occasions of 1913?

After the ceremony: Stravinsky's route to Neoclassicism (1914-1925) lines the evolution of Stravinsky's compositional variety as he looked for his personal voice within the explosive musical global of the early twentieth century as he replied to harsh criticisms of his paintings. during the publication, writer Maureen Carr provides new transcriptions and complicated analyses of chosen musical sketches to teach the genesis of Stravinsky's musical principles as he forayed into surrealism, classicism, and abstraction to increase his signature Neoclassical type. Exploring those annotated compositional experiments--such because the earliest proof of Stravinsky's appropriation of the "rag idiom" and the advance of his so-called "sound blocks"--After the ceremony offers new perception into how Stravinsky challenged and guided the musical advancements of the last decade after that mythical Paris superior. Enlightening visible metaphors, reminiscent of the modern work of Paul Klee and people of the Russian futurists, complement dialogue of the musical sketches all through, delivering a accomplished creative context for Carr's extraordinary and rigorous examination.

A treasure trove of remarkable fabric for students, musicians, scholars, and normal readers alike, After the ceremony deals a much-needed delineation of the idea that of musical neoclassicism. Maureen Carr's cutting edge and precise exam of the metamorphosis of Igor Stravinsky's compositional sort after The ceremony of Spring is a useful contribution to the literature touching on this iconic twentieth century composer.

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Extra info for After the Rite: Stravinsky's Path to Neoclassicism

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3 “Opoyaz comes from Obschestvo izucheniya poeticheskovo yazyka (Society for the Study of Poetic Language). This was the name taken by the Petersburg Formalists, a group which included Victor Shklovsky, Leo Jakubinsky, and Boris Eichenbaum. The Moscow group, called the Moscow Linguistic Circle, was led in part by Roman Jakobson; early contributors to its meetings included Osip Brik and Boris Tomashevskky. ”5 “Resurrection of the Word” supports the view that Shklovsky was an important link between Russian Futurism and Russian Formalism.

5 Entire quotation: “It was Shklovsky who added to the prestige of futurism by delivering, in the Stray Dog cabaret, a lecture in which futurism was presented as doing the necessary work based on the general laws of the evolution of language. This lecture was later published as a pamphlet entitled Voskreshenie slova (‘Resurrection of the Word,’ St. ” Vladimir Markov, Russian Futurism: A History, intro. , Washington, DC: New Academia, 2006), 141. Citations refer to the New Academia edition. 6 Boris Eichenbaum, “The Theory of the Formal Method,” in Russian Formalist Criticism, 105.

6 provides an interesting backdrop for another work of Burliuk, entitled Collage of 1914 (a painting that is in the collection of the Russian Museum of St. Petersburg), which also appears to include the outline of buildings and rooftops. 6 Newspaper review by André Rigaud, title of newspaper unknown, May 31, 1922.  29, is a symphonic poem written by Serge Rachmaninoff (1873–1943) in 1909, inspired by a painting by the Swiss artist, Arnold Böcklin (1827–1901). 27 Newspaper article (March 31, 1923), author unknown.

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