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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.
Stravinsky breaks the orchestra down into chamber-sized sections with the piano acting as a pivot between these, creating the type of subtle and gestural textures favored by Webern in his Concerto for Nine Instruments (Op. 24) and Variations for Orchestra (Op. 30), the latter a work much admired by Stravinsky.
This is when Stravinsky first met Balanchine, who later became his most important creative partner. The Diaghilev and Stravinsky relationship weakened during Le chant du rossignol, as each liked to be the director in charge. As Balanchine was allowed more of a role, however, it was clear that the Balanchine-Stravinsky relationship was a lasting ...
Stravinsky heard Jeux d'eau and several other works by Ravel no later than 1907 at the "Evenings for Contemporary Music" program. [9] Stravinsky used the chord repeatedly throughout the ballet Petrushka to represent the puppet and devised the chord to represent the puppet's mocking of the crowd at the Shrovetide Fair. [10]
Movements for Piano and Orchestra is a neoclassical ballet choreographed by George Balanchine to Stravinsky's score of the same name.The ballet premiered on April 9, 1963, at City Center of Music and Drama, performed by the New York City Ballet.
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 .
Stravinsky's goal in arranging Petrushka for the piano (along with Piano-Rag-Music) was to attempt to influence Arthur Rubinstein into playing his music. (A 1961 live recording featuring Rubinstein at Carnegie Hall was published in 2012.) [ 2 ] In order to gain the latter's attention, Stravinsky ensured that Rubinstein would find the ...
Stravinsky's revolutionary ideas influenced composers as diverse as Aaron Copland, Philip Glass, Béla Bartók, and Pierre Boulez, who were all challenged to innovate music in areas beyond tonality, especially rhythm and musical form. In 1998, Time magazine listed Stravinsky as one of the 100 most influential people of the century.