Igor Stravinsky | Biography, Music, & Facts | az-links.info
Igor Stravinsky grew up the son of an opera star. about the opera house meeting the famous composers and performers of his time. During. Igor Fedorovich Stravinsky >The Russian-born composer Igor Fedorovich power of the Rite and the modern concision of The Soldier's Tale met in an austere. Explore releases from the Meet the Composer label. Igor Stravinsky · Fireworks ‧ Ode ‧ Russian Maiden's Song ‧ Ebony Concerto ‧ Norwegian Moods ‧ Circus.
In spite of being extremely busy, Mussolini did me the great honour of conversing with me for three-quarters of an hour. We talked about music, art and politics".Why Jazz Musicians ♥♥♥ STRAVINSKY
Truman and I'm satisfied. His successful career as a pianist and conductor took him to many of the world's major cities, including Paris, Venice, Berlin, London, Amsterdam and New York and he was known for his polite, courteous and helpful manner. Stravinsky was reputed to have been a philanderer and was rumoured to have had affairs with high-profile partners, such as Coco Chanel. He never referred to it himself, but Chanel spoke about the alleged affair at length to her biographer Paul Morand in ; the conversation was published thirty years later.
Despite these alleged liaisons, Stravinsky was considered a family man and devoted to his children. Music is well or better able to praise him than the building of the church and all its decoration; it is the Church's greatest ornament". As a child, he was brought up by his parents in the Russian Orthodox Church. Baptized at birth, he later rebelled against the Church and abandoned it by the time he was fourteen or fifteen years old. After befriending a Russian Orthodox priest, Father Nicholas, after his move to Nice inhe reconnected with his faith.
He rejoined the Russian Orthodox Church and afterwards remained a committed Christian. In his late seventies, Stravinsky said: I cannot now evaluate the events that, at the end of those thirty years, made me discover the necessity of religious belief. I was not reasoned into my disposition. Though I admire the structured thought of theology Anselm 's proof in the Fides Quaerens Intellectumfor instance it is to religion no more than counterpoint exercises are to music.
I do not believe in bridges of reason or, indeed, in any form of extrapolation in religious matters. I can say, however, that for some years before my actual "conversion", a mood of acceptance had been cultivated in me by a reading of the Gospels and by other religious literature.
The real extent of the tumult is open to debate and the reports may be apocryphal. In the published article, Satie argued that measuring the "greatness" of an artist by comparing him to other artists, as if speaking about some "truth", is illusory and that every piece of music should be judged on its own merits and not by comparing it to the standards of other composers.
That was exactly what Jean Cocteau did when he commented deprecatingly on Stravinsky in his book, Le Coq et l'Arlequin. All the signs indicate a strong reaction against the nightmare of noise and eccentricity that was one of the legacies of the war The Shostakovich Fourth Symphony, long banned, had received its first performance only inand so the score was newly fresh in Shostakovich's mind when he met Stravinsky.
We know he mentioned the piano reduction to Stravinsky as well.
Stravinsky didn't reciprocate Shostakovich's appreciation, and no such relation sprang up between them as did that between Shostakovich and Benjamin Britten. Their musical and social personalities were quite unlike, and they belonged to different generations. Certainly their life experiences had been profoundly different. At our present remove, however, we can better see affinity as well as difference.
Recent studies of Stravinsky have emphasized his abiding Russianness.
Igor Stravinsky - Wikipedia
Expatriates, too, belong to their native soil; who would say that Nabokov was not a Russian? Stravinsky, then, was a cosmopolitan who never severed his connection with Russia, and Shostakovich was a Russian who saw himself as firmly within the Western tradition. The good news is that Stravinsky and Shostakovich have at last been brought together, at least on a Philadelphia concert program, by another gentleman with a famous Russian name, Ignat Solzhenitsyn.
Solzhenitsyn, whose departure from the Chamber Orchestra of Philadelphia a year ago has left it and us the poorer, offered a program for the Chamber Music Society with two fellow musicians— violinist Jennifer Frautschi and cellist Efe Baltacigil— that consisted of two works apiece by Stravinsky and Shostakovich, with one of each on each half of the program.
If you knew nothing of either composer, the first half of the program would have suggested that Shostakovich was the aggressive modernist, and Stravinsky the musical conservative. Stravinsky's Suite Italienne is a five-movement reduction of music from his ballet, Pulcinella, arranged for cello and piano, and based in turn on themes of the 18th-Century composer Giovanni Battista Pergolesi.
It's a highly charming and agreeable score, but at this point poses few problems even for the listener whose tastes stop with the 19th Century.
Oedipus Rex is a work that is both confusing and austere, its characters stand like statues keeping their movements to a minimum.
The music focuses on the drama of the story and includes motifs of the Baroque era inspired by Handel. His renewed religious sentiment was also felt in two ballets, Apollon Musagete and Persephone Apollon Musagete later known as Apollo was the last ballet staged by Diaghilev one year before his death and the dissolution of the Ballets Russes. It is a classical ballet in which the composer celebrates the apotheosis of string instruments. The performance of this work marks the beginning of a close collaboration between Stravinsky and the choreographer George Balanchine.
Persephone, a melodrama in three parts also based on Greek mythology, was composed for the Ida Rubinstein ballet company.
This text is assigned to a speaker, a tenor, and a chorus mixed and childrenaccompanied by an orchestra whose melodic charm is undeniable. InStravinsky made the acquaintance of the violinist Samuel Dushkin with whom he collaborated on Concerto pour Violon, commissioned by the composer, Blair Fairchild, followed by a sonata for violin and piano, Duo Concertante. His second son, Soulima, began a career as a pianist, interpreting the works of his father. Stravinsky wrote Concerto for two pianos alone Concerto pour deux pianos seuls in so that they could perform together in public.
A new ballet, inspired by the scenario of a poker game, followed Persephone. The first performance took place on April 27, at the Metropolitan Opera under his direction. In the spring of that year, Stravinsky began work on a concerto for chamber orchestra, ordered by wealthy American patrons, Mr. Bliss, on the occasion of their wedding 30th anniversary. Stravinsky then, incomposed his Symphony in C Symphonie en ut for the 50th anniversary of the Chicago Symphony Orchestra.
Tuberculosis struck the Stravinsky family with three deaths: Stravinsky interrupted his work. Nadia Boulanger then informed Stravinsky that Harvard University had chosen him for its prestigious Poetry Chair for the year for a series of lectures on his conception of music. He would remain in America and not return to live in France after the war. Use or reproductions strictly forbidden. America welcomed the composer as a prestigious guest.
With demands on his time from all sides, Stravinsky decided to settle on the new continent. He wrote, directed, recorded and lectured incessantly and continued to create performances worldwide. At the beginning ofhe married his second wife, Vera de Bosset.
Stravinsky and his new wife moved to Beverly Hills, then bought a house in Hollywood, a home where Stravinsky would remain for a long period of his life. In Decemberhe obtained U.
Igor Fedorovich Stravinsky
Los Angeles, during the war, had a rich cultural life with many expatriate artists and intellectuals settled there. Stravinsky built a new circle of friends. He enjoyed, among others, the company of such English writers as Aldous Huxley and W.
Auden, with whom he later collaborated, as well as the Welsh poet Dylan Thomas. The post-war years were serene for Stravinsky who now enjoyed good health and was free of financial worries.