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IGOR STRAVINSKY/ 2009
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_084 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
"My music is best understood by children and animals." - Igor Stravinsky
In Observer 8 Oct. 1961
-www.quotationspage.com/quote/30277.html
Igor Stravinsky -
Igor Fyodorovich Stravinsky (Russian: Игорь Фёдорович Стравинский, Igor' Fjodorovič Stravinskij) (17 June [O.S. 5 June] 1882 – 6 April 1971) was a Russian composer, pianist, and conductor, widely acknowledged as one of the most important and influential composers of 20th century music.[1][2][3] He was a quintessentially cosmopolitan Russian who was named by Time magazine as one of the 100 most influential people of the century.[4] In addition to the recognition he received for his compositions, he also achieved fame as a pianist and a conductor, often at the premieres of his works.
Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and performed by Diaghilev's Ballets Russes (Russian Ballets): The Firebird (1910), Petrushka (1911/1947), and The Rite of Spring (1913). The Rite, whose premiere provoked a riot, transformed the way in which subsequent composers thought about rhythmic structure, and was largely responsible for Stravinsky's enduring reputation as a musical revolutionary, pushing the boundaries of musical design.
After this first Russian phase Stravinsky turned to neoclassicism in the 1920s. The works from this period tended to make use of traditional musical forms (concerto grosso, fugue, symphony), frequently concealed a vein of intense emotion beneath a surface appearance of detachment or austerity, and often paid tribute to the music of earlier masters, for example J. S. Bach and Tchaikovsky.
In the 1950s he adopted serial procedures, using the new techniques over his last twenty years. Stravinsky's compositions of this period share traits with all of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a few two- or three-note cells, and clarity of form, of instrumentation, and of utterance.
He also published a number of books throughout his career, almost always with the aid of a collaborator, sometimes uncredited. In his 1936 autobiography, Chronicles of My Life, written with the help of Walter Nouvel, Stravinsky included his infamous statement that "music is, by its very nature, essentially powerless to express anything at all."[5] With Alexis Roland-Manuel and Pierre Souvtchinsky he wrote his 1939–40 Harvard University Charles Eliot Norton Lectures, which were delivered in French and later collected under the title Poétique musicale in 1942 (translated in 1947 as Poetics of Music).[6] Several interviews in which the composer spoke to Robert Craft were published as Conversations with Igor Stravinsky.[7] They collaborated on five further volumes over the following decade.
Stravinsky signed a full agreement with Boosey & Hawkes for his musical copyrights in 1947. [8]
Notes:
1. ^ Page 2006; Théodore and Denise Stravinsky 2004, vii.
2. ^ Anonymous 1940.
3. ^ Cohen 2004, 30.
4. ^ Glass 1998[1].
5. ^ Stravinsky 1936, 91–92.
6. ^ The names of uncredited collaborators are given in Walsh (2001).
7. ^ Stravinsky and Craft 1959.
8. ^ Wallace, Helen (2007). "Boosey & Hawkes, The Publishing Story", p.67. Boosey & Hawkes Music Publishers Ltd., London. ISBN 9780851625140
References:
* Adorno, Theodor. 1973. Philosophy of Modern Music. Translated by Anne G. Mitchell and Wesley V. Blomster. New York: Continuum. ISBN 0-8264-0138-4 Original German edition, as Philosophie der neuen Musik. Tübingen: J. C. B. Mohr, 1949.
* Anonymous. 1940. "Musical Count". Time Magazine (Monday, March 11).
* Berry, David Carson. 2006. "Stravinsky, Igor." Europe 1789 to 1914: Encyclopedia of the Age of Industry and Empire, editors-in-chief John Merriman and Jay Winter, 4:2261–63. Detroit: Charles Scribner’s Sons.
* Berry, David Carson. 2008. "The Roles of Invariance and Analogy in the Linear Design of Stravinsky's 'Musick to Heare.'" Gamut 1/1. Accessible at [2].
* Blitzstein, Marc. 1935. "The Phenomenon of Stravinsky". Musical Quarterly 21, no. 3 (July): 330–47. Reprinted 1991, Musical Quarterly 75, no. 4 (Winter): 51–69.
* Browne, Andrew J. 1930. "Aspects of Stravinsky's Work". Music & Letters 11, no. 4 (October): 360–66. Online link accessed 2007-11-19 (subscription access)
* Cocteau, Jean. 1918. Le Coq et l'arlequin: notes de la musique. Paris: Éditions de la Sirène. Reprinted 1979, with a preface by Georges Auric. Paris: Stock. ISBN 2234010810 English edition, as Cock and Harlequin: Notes Concerning Music, translated by Rollo H. Myers, London: Egoist Press, 1921.
* Cohen, Allen. 2004. Howard Hanson in Theory and Practice. Westport, Conn.: Praeger Publishers. ISBN 0-313-32135-3
* Copland, Aaron. 1952. Music and Imagination. Cambridge, Massachusetts: Harvard University Press.
* Craft, Robert. 1993. Stravinsky: Glimpses of a Life, St Martins Press.
* Craft, Robert. 1997. Stravinsky: Chronicle of a Friendship. Vanderbilt University Press.
* Dubal, David. 2001. The Essential Canon of Classical Music. New York: North Point Press.
* Eksteins, Modris. 1989. Rites of Spring: The Great War and the Modern Era. Boston: Houghton Mifflin Company. ISBN 0-395-49856-2 (Reprinted 1990, New York: Anchor Books ISBN 0-385-41202-9; reprinted 2000, Boston: Mariner Books ISBN 0-395-93758-2)
* Glass, Philip. 1998. “Igor Stravinsky” Time (Monday, 8 June).
* Greene, David Mason (1985). Biographical Encyclopaedia of Composers. New York: Doubleday.
* Holland , Bernard. 2001. "Stravinsky, a Rare Bird Amid the Palms: A Composer in California, at Ease if Not at Home", The New York Times (11 March).
* Lambert, Constant. 1936. Music Ho! A Study of Music in Decline. New York: Charles Scribner's Sons.
* Lawson, Rex. 1986. Stravinsky and the Pianola, in Confronting Stravinsky, ed. Pasler. Los Angeles: University of California Press. ISBN 0-520-05403-2.
* Page, Tim. 2006. "Classical Music: Great Composers, a Less-Than-Great Poser and an Operatic Impresario". Washington Post (Sunday, 30 July): BW13.
* Robinson, Lisa. 2004. "Opera Double Bill Offers Insight into Stravinsky's Evolution". The Juilliard Journal Online 19, no. 7 (April). (No longer accessible as of March 2008.)
* Siegmeister, Elie (ed.). 1943. The Music Lover's Handbook. New York:William Morrow and Company.
* Slonimsky, Nicolas. 1953. Lexicon of Musical Invective: Critical Assaults on Composers Since Beethoven's Time. New York: Coleman-Ross. Second edition, New York: Coleman-Ross, 1965, reprinted Washington Paperbacks WP-52, Seattle: University of Washington Press, 1969, reprinted again Seattle: University of Washington Press, 1974 ISBN 0-295-78579-9, and New York: Norton, 2000 ISBN 039332009X (pbk).
* Straus, Joseph N. 2001. Stravinsky's Late Music. Cambridge Studies in Music Theory and Analysis 16. Cambridge, New York, Port Melbourne, Madrid, and Cape Town: Cambridge University Press. ISBN 0-521-80220-2 (cloth) ISBN 0-521-60288-2 (pbk)
* Stravinsky, Igor. 1936. Chronicle of My Life. London: Gollancz. Reprinted as An Autobiography (1903–1934). London: Marion Boyars, 1990. ISBN 0-714-51082-3. Reprinted, New York: W. W. Norton & Co., 1998. ISBN 0-393-31856-7.
* Stravinsky, Igor, and Robert Craft. 1959. Conversations with Igor Stravinsky. Garden City, NY: Doubleday. OCLC 896750 Reprinted Berkeley: University of California Press, 1980. ISBN 0520040406
* Stravinsky, Igor, and Robert Craft. 1962. Expositions and Developments. London: Faber & Faber.
* Stravinsky, Igor, and Robert Craft. 1960. Memories and Commentaries. Garden City, N.Y.: Doubleday. Reprinted 1981, Berkeley and Los Angeles: University of California Press. ISBN 0-520-04402-9 Reprinted 2002, London: Faber and Faber. ISBN 0571212425
* Stravinsky, Théodore, and Denise Stravinsky. 2004. Catherine and Igor Stravinsky: A Family Chronicle 1906–1940. New York: Schirmer Trade Books; London: Schirmer Books. ISBN 0825672902
* Taruskin, Richard. 1996. Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra. Two vols. Berkeley: University of California Press. ISBN 0-520-07099-2
* Volta, Ornella. 1989. Satie Seen through His Letters. London: Boyars. ISBN 0-7145-2980-X.
* Wallace, Hellen. 2007. Boosey & Hawkes, The Publishing Story. London: Boosey & Hawkes. ISBN 978-0-85162-514-0.
* Walsh, Stephen. 2000. Stravinsky. A Creative Spring: Russia and France 1882–1934. London: Jonathan Cape.
* Walsh, Stephen. 2001. "Stravinsky, Igor." New Grove Dictionary of Music and Musicians, 2nd edition. London: MacMillian.
* Wenborn, Neil. 1985. Stravinsky. London: Omnibus Press. ISBN 0711976511.
* Zappa, Frank, and Peter Occhiogrosso. 1989. The Real Frank Zappa Book. New York: Poseidon Press. ISBN 067163870X (reprinted twice in 1990, New York: Fireside Books, ISBN 0671705725 and New York: Picador Books ISBN 0330316257)
-en.wikipedia.org/wiki/Igor_Stravinsky
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