Works of Igor Stravinsky

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Works of Igor Stravinsky

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dc.contributor.other Igor Stravinsky es
dc.coverage.spatial Estados Unidos es
dc.date.accessioned 2014-06-12T22:24:07Z
dc.date.available 1991
dc.date.available 2014-06-12T22:24:07Z
dc.date.copyright 2007
dc.date.issued 2014-06-12
dc.identifier.uri http://hdl.handle.net/123456789/4535
dc.description.abstract Igor Stravinsky was one of music's truly epochal innovators; no other composer of the twentieth century exerted such a pervasive influence or dominated his art in the way that Stravinsky did during his five-decade musical career. Aside from purely technical considerations such as rhythm and harmony, the most important hallmark of Stravinsky's style is, indeed, its changing face. Emerging from the spirit of late Russian nationalism and ending his career with a thorny, individual language steeped in twelve-tone principles, Stravinsky assumed a number of aesthetic guises throughout the course of his development while always retaining a distinctive, essential identity. Although he was the son of one of the Mariinsky Theater's principal basses and a talented amateur pianist, Stravinsky had no more musical training than that of any other Russian upper-class child. He entered law school, but also began private composition and orchestration studies with Nicolai Rimsky-Korsakov. By 1909, the orchestral works Scherzo fantastique and Fireworks had impressed Sergei Diaghilev enough for him to ask Stravinsky to orchestrate, and subsequently compose, ballets for his company. Stravinsky's triad of early ballets—The Firebird (1909-1910), Petrushka (1910-1911), and most importantly, The Rite of Spring (1911-1913)—did more to establish his reputation than any of his other works; indeed, the riot which followed the premiere of The Rite is one of the most notorious events in music history. Stravinsky and his family spent the war years in Switzerland, returning to France in 1920. His jazz-inflected essays of the 1910s and 1920s—notably, Ragtime (1918) and The Soldier's Tale (1918)—gave way to one of the composer's most influential aesthetic turns. The neo-Classical tautness of works as diverse as the ballet Pulcinella (1919-1920), the Symphony of Psalms (1930) and, decades later, the opera The Rake's Progress (1948-1951) made a widespread impact and had an especial influence upon the fledgling school of American composers that looked to Stravinsky as its primary model. He had begun touring as a conductor and pianist, generally performing his own works. In the 1930s, he toured the Americas and wrote several pieces fulfilling American commissions, including the Concerto in E flat, "Dumbarton Oaks." After the deaths of his daughter, his wife, and his mother within a period of less than a year, Stravinsky emmigrated to America, settling in California with his second wife in 1940. His works between 1940 and 1950 show a mixture of styles, but still seem centered on Russian or French traditions. Stravinsky's cultural perspective was changed after Robert Craft became his musical assistant, handling rehearsals for Stravinsky, traveling with him, and later, co-authoring his memoirs. Craft is credited with helping Stravinsky accept 12-tone composition as one of the tools of his trade. Characteristically, though, he made novel use of such principles in his own music, producing works in a highly original vein: Movements (1958-1959) for piano and orchestra, Variations: Aldous Huxley in Memoriam (1963), and the Requiem Canticles (1965-1966) are among the most striking. Craft prepared the musicians for the exemplary series of Columbia Records LPs Stravinsky conducted through the stereo era, covering virtually all his significant works. Despite declining health in his last years, Stravinsky continued to compose until just before his death in April 1971. © AMG, All Music Guide es
dc.description.tableofcontents CD22 Song of the nightingale Symphonic Poem for Orchestra-- Danses Concertantes For Chamber Orchestra; I Marche. Introduction, II Pas d’action, III Théme varié, IV Pas de deux, V Marche. Conclusion-- Epitaphium for the Tombstone-- Double Canon For String Quartet-- Abraham and Isaac A Sacred Ballad for Baritone And Chamber Orchestra-- Variations Adous Huxley in memoriam-- Requiem Canticles to the memory of Helen Bucharan Seeger; I Prelude, II Exaudi, III Dies Irae, IV Tuba mirum, V Interlude, VI Rex tremendae, VII Lacrimosa, VIII Libera me, IX Portlude-- es
dc.format.extent 67:33Min. es
dc.format.medium 1 CD Rom (67 min.,33 seg) : Stereo 4 3/4 plg es
dc.language.iso en es
dc.rights Uninorte F.M Stereo es
dc.subject.lcc 612095324 es
dc.subject.lcsh [Gattung (verschiedene)] Orchestermusik Kammermusik Geistliche Musik Vokalmusik weltlich: Sologesang (mit oder ohne Begleitung) es
dc.title Works of Igor Stravinsky es
dc.title.alternative Robert Craft Conducts Under the Supervision of Igor Stravinsky es
dc.title.alternative Song of the nightingale es
dc.title.alternative Danses Concertantes for Chamber Orcestra es
dc.title.alternative Epitaphium for the Tombstone of Prince Max Egon zu Fürstenberg es
dc.title.alternative Double Canon for String Quartet es
dc.title.alternative Abraham and Isaac es
dc.title.alternative Variations (Aldous Huxley in Memoriam) es
dc.title.alternative Requiem Canticles to the memory of Helen Buchanan Seeger es
dc.language.rfc3066 Eng es
dc.rights.holder Sony BMG MUSIC Entertainment es
dc.identifier.classification 886971031126 es
dc.subject.cdu Str.10 es


Files in this item

Files Length Size Format View Description
Song of the Nightingale.wav 18:46 189.4Mb WAV audio Wav
Danses Concertantes.wav 18:25 185.8Mb WAV audio Wav
Epitaphuium.wav 1:11 11.94Mb WAV audio Wav
Double Canon.wav 1:22 13.86Mb WAV audio Wav
Abraham and Isaac.wav 10:29 105.8Mb WAV audio Wav
Variations.wav 4:54 49.52Mb WAV audio Wav
Requiem Canticles.wav 13:49 139.5Mb WAV audio Wav

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