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The Berceuses du chat were composed in 1915/16 while Stravinsky was living in Clarens, Switzerland, during World War I. [2] They are based on Russian folk songs found in the collection of Russian folklorist Pyotr Kireevsky. Stravinsky had purchased the volume in Kiev during his last trip to Kiev in July 1914, just before the outbreak of the war.
In music, the terms additive and divisive are used to distinguish two types of both rhythm and meter: . A divisive (or, alternately, multiplicative) rhythm is a rhythm in which a larger period of time is divided into smaller rhythmic units or, conversely, some integer unit is regularly multiplied into larger, equal units.
This treatment of rhythm subsequently became so habitual for Stravinsky that, when he composed his Symphony in C in 1938–40, he found it worth observing that the first movement had no changes of meter at all (though the metrical irregularities in the third movement of the same work were amongst the most extreme in his entire output). [25]
This is a sound and video discography of Igor Stravinsky's ballet The Rite of Spring. The work was premiered in Paris on May 29, 1913 at the Théâtre des Champs-Élysées. It was presented by Sergei Diaghilev's Ballets Russes with choreography by Vaslav Nijinsky and was conducted by Pierre Monteux. The list includes many of the most noted ...
This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.
ADRIAN — Stravinsky’s first foray into neoclassicism, Mozart’s final symphony, and a folk-based piece by a 20th-century American composer make up the program for the next installment of the ...
Arlen in his review for the Los Angeles Times praised "The Owl and the Pussy Cat" as "eminently singable" and compared it favorably to Stravinsky's Pribaoutki: [5] Naturally, the new work is based on a tone row , but reveals definite implications of tonality, retains a simple aura, has great clarity, and radiated positive charm.
Stravinsky's music is typically divided into three style periods: the Russian period (c. 1907–1919), the neoclassical period (c. 1920–1954), and the serial period (1954–1968). Stravinsky's Russian period is characterized by the use of Russian folk tunes and the influence of Rimsky-Korsakov, Tchaikovsky, Glazunov, and Taneyev.