This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1986. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived

Of Russian, French, and later American nationality, Stravinsky's musical styles are startlingly diverse, reflecting his life and era; from Tsarist Russia, to 1920s France and post-war USA. His early years in Russia saw him launch his international career, with Dyagilve's Ballets Russes in Paris and the premieres of The Firebird, Petrushka and The Rite of Spring. Between 1920-1939 Stravinsky lived and worked in France, producing his great neo-classical compositions, reactivating the modes and manners of the eighteenth century. This stylistic inclination eventually gave way to a highly individual use of serial techniques in his last years, when he took up residence in the United States. This biography of Igor Stravinsky is one in a new series of composer biographies, derived and adapted from the second edition of The New Grove Dictionary of Music and Musicians. These newly written biographies bring the best of the book-length pieces in The New Grove to a wider audience. Each title provides fresh new insights into the life and works of a major composer, derived from the most recent scholarship. In addition to a detailed and informative view of the subject's life and works, written by an expert in the field, each book includes comprehensive, tabular work-lists and a fully revised and updated bibliography.

Context and composition -- Concerto as catalyst -- Analytical tools and recurring elements -- Counterpoint and tonality in the first movement -- Tetrachords and tritones in the largo -- Points of imitation in the finale

The first book to be devoted to the music of Stravinsky's last compositional period.

A fresh look at Stravinsky's musical style, from a variety of analytical, critical and aesthetic angles.

A new look at one of the most important composers of the twentith century Stravinsky and His World brings together an international roster of scholars to explore fresh perspectives on the life and music of Igor Stravinsky. Situating Stravinsky in new intellectual and musical contexts, the essays in this volume shed valuable light on one of the most important composers of the twentieth century. Contributors examine Stravinsky's interaction with Spanish and Latin American modernism, rethink the stylistic label "neoclassicism" with a section on the ideological conflict over his lesser-known opera buffa Mavra, and reassess his connections to his homeland, paying special attention to Stravinsky's visit to the Soviet Union in 1962. The essays also explore Stravinsky's musical and religious differences with Arthur Lourié, delve into Stravinsky's collaboration with Pyotr Suvchinsky and Roland-Manuel in the genesis of his groundbreaking Poetics of Music, and look at how the movement within stasis evident in the scores of Stravinsky's Orpheus and Oedipus Rex reflected the composer's fierce belief in fate. Rare documents—including Spanish and Mexican interviews, Russian letters, articles by Arthur Lourié, and rarely seen French and Russian texts—supplement the volume, bringing to life Stravinsky's rich intellectual milieu and intense personal relationships. The contributors are Tatiana Baranova, Leon Botstein, Jonathan Cross, Valérie Dufour, Gretchen Horlacher, Tamara Levitz, Klára Móricz, Leonora Saavedra, and Svetlana Savenko.

This book explores the technical and aesthetic legacy of Igor Stravinsky.