Ein Buch über Strawinsky in Tanz und Musik.

Stravinsky in the Americas explores the “pre-Craft” period of Igor Stravinsky’s life, from when he first landed on American shores in 1925 to the end of World War II in 1945. Through a rich archival trove of ephemera, correspondence, photographs, and other documents, eminent musicologist H. Colin Slim examines the twenty-year period that began with Stravinsky as a radical European art-music composer and ended with him as a popular figure in American culture. This collection traces Stravinsky’s rise to fame—catapulted in large part by his collaborations with Hollywood and Disney and marked by his extra-marital affairs, his grappling with feelings of anti-Semitism, and his encounters with contemporary musicians as the music industry was emerging and taking shape in midcentury America. Slim’s lively narrative records the composer’s larger-than-life persona through a close look at his transatlantic tours and domestic excursions, where Stravinsky’s personal and professional life collided in often-dramatic ways.

"Excellent . . . Mr. Taylor tells the history of the Weimar inflation as the life-and-death struggle of the first German democracy . . . This is a dramatic story, well told." --The Wall Street Journal

Many theorists believed a hundred years ago, just as they did at the beginning of our twenty-first century, that the world had reached a state of economic perfection, a never before seen condition of beneficial human interdependence that would lead to universal growth and prosperity. And yet the early years of the Weimar Republic in Germany witnessed the most complete and terrifying unravelling of a major country's financial system to have occurred in modern times.The story of the Weimar Republic's financial crisis has a clear resonance in the second decade of the twenty-first century, when the world is anxious once more about what money is, what it means and how we can judge if its value is true. The Downfall of Money will tell anew the dramatic story of the hyperinflation that saw the once-solid German mark, worth 4.2 to the dollar in 1914, trading at over four trillion by the autumn of 1923. It is a trajectory of events uncomfortably relevant for today's uncertain world.The Downfall of Money will reveal the real causes of the crisis, what this collapse meant to ordinary people, and also trace its connection to Germany's subsequent catastrophic political history. By drawing on a wide range of sources and making sense for the general reader of the vast amount of specialist research that has become available in recent decades, it will provide a timely, fresh and surprising look at this chilling period in history.

Stravinsky's influence on Debussy in 1910-13, rarely discussed, is demonstrated here in the many modernistic features of such works as the Preludes Book II, Khamma, and Jeux. This book reassesses the relationship between Debussy and Stravinsky, two of the most important composers of the early twentieth century. When the Russian composer traveled to France in 1910 to attend the premiere of his first ballet, The Firebird, he was invited to dine at the French composer's house, and a photo of the two commemorates the beginning of their friendship. Stravinsky was already acquainted with many of Debussy's earlier works, and Debussy was introduced to the Russian composer's first three ballets between 1910 and 1913. Stravinsky's early works contain Debussy-like passages, as in the opening measures of his opera The Nightingale, which echoes the opening measures of Debussy's "Nuages." As author Mark McFarland here shows, however, the adoption on Debussy's part of characteristics from Stravinsky's style is, perhaps surprisingly, no less substantial. Debussy borrowed motifs from both The Firebird and Petrushka as well as the Russian tradition of Leitharmony in his little-known ballet Khamma, and Stravinsky's ballets, including The Rite of Spring, seems to have sparked an exploration into octatonic harmony in Debussy's second book of piano preludes. McFarland's close analysis of parallel passages and usages in works of the two composers also reveals that Debussy eventually distanced himself from Stravinsky, perhaps fearing to seem like an acolyte rather than an innovator. His borrowings from Stravinsky (and Russian style) gradually disappear, as McFarland demonstrates by close attention to passages in some of the late works, which move in the direction of a neoclassicism that Stravinsky himself would soon adopt and expand further.