| Contents |
v. 1. Introduction: Stravinsky and the traditions -- Part I: A walled-in artist. Russia and how it got that way. The myth ; The Academy ; The Guild ; Perils of safe harbor ; The myth mocked -- Birth and breeding. Family tradition ; First steps ; Joining the "Korsakovian youth" ; The Probestuck ; Filial piety -- Fourth-generation Belyayevets. Lessons ; Opus I: chronology ; Sources, models, revisions ; Reception ; Opus 2 ; Struggles -- Chernomor to Kashchey: harmonic sorcery. Schubert to Glinka ; Liszt to Rimsky ; Melody scales and harmony scales ; Tritones and tetrachords ; Transmission -- Bells, bees, and Roman candles. A French legend ; A promising opus 3 ; The Apiarian program ; Style and technique ; A belated wedding gift ; Night and fog ; A-oo! -- Rivalry, recognition, realignment. Entree to the other camp ; The upstart ; Memorials ; On his own -- Part II: A perfect symbiosis. Rightists of the left. Our young are old ; Baiting the patriarch ; Complicated questions ; Apollonian affinities ; A musical miriskusnik ; Cherepnin and Stravinsky ; The Nightingale begun ; A universal solvent -- Trajectories. Synthesis ; Denationalization ; Neonationalism ; Paris ; Faubourg Kuchkism ; Antiliterary esthetics ; Ballet redux ; Ballet exported -- Myths for export (Firebird). Subject and plan ; Fourth (or fifth) in line ; An unequal partnership ; "Leit-musique" ; The styles of its time ; Ambiguities of reception ; Ironies of nationalism ; Reverse irony -- Punch into Pierrot (Petrushka). A complete work of art ; How it became a ballet ; The scenario and its sources ; Collaboration ; Shirokaya Maslenitsa: The Grand Shrovetide ; The music: sources ; Musical neonationalism: ideals and backgrounds ; A new irony ; The music: harmony and tonality ; Controversy at home ; Influence abroad -- "New times, new birds; new birds, new songs". Balmont and neonationalism ; Stravinsky and Scriabin ; New harmonic interactions ; Promethean resonances ; Pierrotic gestures ; Linear perspective ; Laurels and brickbats -- The great fusion (The Rite of Spring). Background to a dream ; Conception ; Scenario and earliest sketches ; Archeological authenticity ; The musical sources ; Neonationalism in practice ; Fusion ; Drobnost', Nepodvizhnost, Uproshcheniye ; Redemption -- |
| Contents |
v. 2. Part III: Progressive abstraction. Reclame (The loss of Russia, I). The back is turned ; The meteor takes off ; The meteor corralled ; L'Affaire Montjoie! ; The Rite received ; The Rite rejected ; The uncrowned king -- Settling scores (The loss of Russia, II). Khovanshchina redux ; The concluding chorus ; Opera-Ballet ; The Nightingale revived ; Opera without words ; Fausse-Chinoiserie ; Burning the last bridge -- The rejoicing discovery. Turania ; The "Swiss" songs: matters of philology and ethnography ; "Songs sung in the presence of the bowl" ; Turanian musical style ; Apres le deluge ; The "Swiss" songs and beyond: matters of declamation -- A pair of minstrel shows. Minstrels Russian and Turanian ; Baika: the evolution of the text ; Baika: words and music ; Baika: interacting pitch structures ; Histoire du Soldat: the concept ; Histoire du Soldat: the music -- The Turanian pinnacle (Svadebka). The project ; The starting point ; The source ; Putting it together ; Thematic and textual structure ; Setting the texts ; Finding the tunes ; Scale types ; The finishing point ; A realibus ad realiora ; Appendix -- Part IV: On the cusp of the new classicism: a heritage redefined. From subject to style. A new path? ; The return to the C-scale ; New American sources ; Instrumental prosody ; Symphonies d'instruments a vent: matters of genre and form ; Symphonies d'instruments a vent: matters of style -- Ontogeny recapitulates phylogeny. Reprise de contact ; Leading tones and open letters ; Mavra: its conception ; Mavra: sources and style ; The "Chanson russe" as neoclassical paradigm ; Bringing things full circle: what was antimodernism? ; Reception -- Epilogue: The traditions revisited. Stifled sighs ; La baiser de la fee (1928) ; The Russian Church Choruses (1926-34) and Mass (1944-48) ; Scherzo a la russe and Sonata for Two Pianos (1943-44) ; Requiem Canticles (1966) ; Conclusion. |
| Abstract |
During his spectacular career, Stravinsky underplayed his Russian past in favor of a European cosmopolitanism. Richard Taruskin has refused to take the composer at his word. In this long-awaited study, he defines Stravinsky's relationship to the musical and artistic traditions of his native land and gives us a dramatically new picture of one of the major figures in the history of music. Taruskin draws directly on newly accessible archives and on a wealth of Russian documents. In Volume One, he sets the historical scene: the St. Petersburg musical press, the arts journals, and the writings of anthropologists, folklorists, philosophers, and poets. Volume Two addresses the masterpieces of Stravinsky's early maturity--Petrushka, The Rite of Spring, and Les Noces. The author investigates the composer's collaborations with Diaghilev to illuminate the relationship between folklore and modernity. He elucidates the Silver Age ideal of "neonationalism"?the professional appropriation of motifs and style characteristics from folk art?and how Stravinsky realized this ideal in his music. The author demonstrates how Stravinsky achieved his modernist technique by combining what was most characteristically Russian in his musical training with stylistic elements abstracted from Russian folklore. The stylistic synthesis thus achieved formed Stravinsky as a composer for life, whatever the aesthetic allegiances he later professed. Written with Taruskin's characteristic mixture of in-depth research and stylistic verve, this book will be mandatory reading for all those seriously interested in the life and work of Stravinsky. |
| Local note | Little-305131010341M--304726--v.1 |
| Local note | Little-305131010342N--304727--v.2 |
| General note | "A Centennial book." |
| Bibliography note | Includes bibliographical references and index. |
| LCCN | 93028500 |
| ISBN | 0520070992 (alk. paper) |
