Neoclassicism igor stravinsky biography

  • Igor stravinsky characteristics
  • Igor stravinsky style and technique
  • Igor stravinsky musical style

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    “A look speedy the mirror”: Stravinsky extort Neoclassicism

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  • neoclassicism igor stravinsky biography

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    Igor Stravinsky

    Russian composer (1882–1971)

    "Stravinsky" redirects here. For other uses, see Stravinsky (disambiguation).

    Igor Fyodorovich Stravinsky[a][b] (17 June [O.S. 5 June] 1882 – 6 April 1971) was a Russian composer and conductor with French citizenship (from 1934) and American citizenship (from 1945). He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music.

    Born to a musical family in Saint Petersburg, Russia, Stravinsky grew up taking piano and music theory lessons. While studying law at the University of Saint Petersburg, he met Nikolai Rimsky-Korsakov and studied music under him until the latter's death in 1908. Stravinsky met the impresarioSergei Diaghilev soon after, who commissioned the composer to write three ballets for the Ballets Russes's Paris seasons: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913), the last of which caused a near-riot at the premiere due to its avant-garde nature and later changed the way composers understood rhythmic structure.

    Stravinsky's compositional career is often divided into three main periods: his Russian period (1913–1920), his neoclassical period (1920–1951), and his serial

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    Igor Stravinsky
    by
    Mark McFarland
    • LAST REVIEWED: 22 February 2018
    • LAST MODIFIED: 22 February 2018
    • DOI: 10.1093/obo/9780199757824-0035

  • Taruskin, Richard. Stravinsky and the Russian Traditions: A Biography of the Works through Mavra. 2 vols. Berkeley and Los Angeles: University of California Press, 1996.

    This study focuses primarily on the composer’s “Russian” period. The “Russian Traditions” of the title relate to matters of harmony, folk song, and training, elements that Stravinsky attempted to discount or dismiss altogether later in life. Taruskin’s study thereby represents a fresh perspective on the composer.

  • Walsh, Stephen. The Music of Stravinsky. London: Routledge, 1988.

    This single-volume study covers the composer’s entire career. The composer’s stylistic development is traced through an emphasis on key works. Although the text includes some theoretical terms, the tone throughout is more descriptive than analytical. Walsh’s identification of Stravinsky’s middle style as synthetic rather than neoclassic is persuasive.

  • Walsh, Stephen. Stravinsky: A Creative Spring: Russia and France, 1882–1934. New York: Knopf, 1999.

    As in Taruskin 1996, Walsh acknowledges that Stravinsky’s writings will be examined objec