By Maureen A. Carr
The rebellion that erupted through 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 contemporary musical heritage. The 3rd in a sequence 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 top-rated, The ceremony of Spring has tested its earth-shattering influence on tune and dance in addition to its immortalizing influence on Stravinsky and his profession. Having received foreign cognizance through the age of 30, what path may 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 international of the early twentieth century as he answered to harsh criticisms of his paintings. during the publication, writer Maureen Carr provides 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 increase his signature Neoclassical sort. 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 offers new perception into how Stravinsky challenged and guided the musical advancements of the last decade after that mythical Paris top-rated. 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, supplying a finished inventive context for Carr's unheard of 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 concept that of musical neoclassicism. Maureen Carr's cutting edge and specified exam of the metamorphosis of Igor Stravinsky's compositional sort after The ceremony of Spring is a useful contribution to the literature pertaining to this iconic twentieth century composer.
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Additional resources for After the Rite: Stravinsky's Path to Neoclassicism
Fokine’s Principles and Aims,” letter to the editor, Times (London), July 6, 1914, 6A. 54 Ibid. 55 Ibid. 53 22 i After the Rite aesthetic underpinnings of each of the arts, whether it be poetry, art, music, or dance. ”56 Just as the London Times was publishing Fokine’s letter to the editor (July 6, 1914) on the principles for the “New Ballet,” the world was on the brink of the Great War (declared on July 28, 1914). The Russian Revolution would begin three years later (October 25, 1917). It would take until March 3, 1918, for the Treaty of Brest-Litovsk to be signed and until May 7, 1919, for the Treaty of Versailles.
52 It is difficult to know if Stravinsky was speaking about the integration of form and content to reflect the experiments in Russian Formalism that began in 1914 or if he was espousing the ideals of Structuralism that the Formalists were reacting against. The integration of form and content, and the distinction between Valérie Dufour, e-mail communication with author, September 15, 2011. Jacques Maritain, Antimoderne (Paris: Éditions de la Revue des jeunes, 1922). 49 Valérie Dufour, e-mail communication with author, May 23, 2011.
41 Boym, 31. 42 I have purposely not included Les Noces in my discussion in light of Margarita Mazo’s monumental study of this work. 43 English translation (by Dina Lentsner) of an article in Russian, housed at the Paul Sacher Stiftung. ” The name of the author is illegible: “I’m very happy with the production of my opera,” said Igor Fyodorovich in my conversation with him, “and you are going to judge it yourself in a few days. The plot was borrowed from Anderson’s famous fairytale. I had thought of the opera for a very long time.