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

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 some of the most notorious and interesting occasions of recent musical historical past. 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 finest, The ceremony of Spring has tested its earth-shattering impression on tune and dance in addition to its immortalizing impact on Stravinsky and his occupation. Having received overseas realization via the age of 30, what path may perhaps Stravinsky's course 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 type as he looked for his personal voice within the explosive musical global of the early twentieth century as he answered to harsh criticisms of his paintings. through the booklet, writer Maureen Carr offers new transcriptions and complex analyses of chosen musical sketches to teach the genesis of Stravinsky's musical principles as he forayed into surrealism, classicism, and abstraction to boost his signature Neoclassical variety. Exploring those annotated compositional experiments--such because the earliest proof of Stravinsky's appropriation of the "rag idiom" and the improvement of his so-called "sound blocks"--After the ceremony presents new perception into how Stravinsky challenged and guided the musical advancements of the last decade after that mythical Paris optimal. Enlightening visible metaphors, comparable to the modern work of Paul Klee and people of the Russian futurists, complement dialogue of the musical sketches all through, providing a entire inventive context for Carr's unparalleled and rigorous examination.

A treasure trove of remarkable fabric for students, musicians, scholars, and common readers alike, After the ceremony bargains a much-needed delineation of the idea that of musical neoclassicism. Maureen Carr's leading edge and particular exam of the metamorphosis of Igor Stravinsky's compositional variety after The ceremony of Spring is a useful contribution to the literature pertaining to this iconic twentieth century composer.

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To my way of thinking, Piano-Rag-Music demonstrates a quintessential alienation or deformation of its tonal model that defamiliarizes its source. If the essence of surrealism has to do with the level to which Stravinsky alienates his model, then Piano-Rag-Music is a perfect example. Most pianists would agree that, because of its nature and the manner in which the model is disguised and distorted, Piano-Rag-Music falls into the category of surrealism. It represents the highest level of abstraction in comparison with the jazz idiom.

1A. With the kind permission of John Bowlt. ”13 The philosophical basis for this worldview of artistic processes was divisive and left no room for a shared vision, such as the style exemplified by the Russian-born artist, Vladimir Baranov-Rossiné (1888–1944), a Cubo-Futurist, who was strongly influenced by his studies in Paris. Elements of the West and East comingle in his Nymphen und Zentauren, completed in 1914 and displayed in 2009 at the Hamburger Kunsthalle as part of the exhibition entitled Tanz der Farben: Nijinsky’s Auge und die Abstraktion [Dance of Colours: Nijinsky’s Eye and Abstraction].

N. ] (right) David Burliuk, Mayakovsky, pen and ink, 1930. With the kind permission of Mary Burliuk Holt, and reproduced with the permission of the British Library Board. All rights reserved.  Bowlt writes as follows: “Futurism in Russian painting became concerned not only with the dislocation of the figurative surface, but also with the intrinsic qualities of painting, with its ‘painterliness’ and therefore concentrated on such factors as texture, colour, form, plane, line. 7) in my opinion adheres more closely to “intrinsic qualities of painting”36 as posited earlier.

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