Igor Stravinsky's strikingly original compositions continue to fascinate scholars and music-lovers across the globe. This volume brings together a collection of 35 short, specially commissioned essays that illuminate the varied contexts from which emerged Stravinsky's impressive catalogue of innovative and richly creative music.
Igor Stravinsky's strikingly original compositions continue to fascinate scholars and music-lovers across the globe. This volume brings together a collection of 35 short, specially commissioned essays that illuminate the varied contexts from which emerged Stravinsky's impressive catalogue of innovative and richly creative music.
Preface List of Contributors List of Abbreviations Part I. Russia and Identity: 1. Memory and truth: Stravinsky's childhood (1882-1901) Catriona Kelly 2. Religion, life and death in St Petersburg Natalia Braginskaya 3. Kashperova and Stravinsky: the making of a concert-pianist Graham Griffiths 4. Reminiscences of Rimsky-Korsakov, his family and artistic circle Lidia Ader 5. Orthodoxies and unorthodoxies: Stravinsky's spiritual journey Ivan Moody 6. The Russian soul Rowan Williams Part II. Stravinsky and Europe: 7. Sergei Diaghilev and Stravinsky: from world of art to ballets russes John E. Bowlt 8. Paris and the Belle Époque Davinia Caddy 9. Paris, Art Deco, and the spirit of Apollo Jonathan Cross 10. Stravinsky's Spain: fan or mirror? Graham Griffiths 11. 'It is Venice that he loves¿' Mauricio Dottori Part III. Partnerships and Authorship: 12. Stravinsky's sphere of influence: Paris and beyond Inessa Bazayev 13. Stravinsky and his literary collaborators Maureen Carr 14. Assuming co-authorship: Stravinsky and his 'ghost-writers' Valérie Dufour 15. Nadia Boulanger and Stravinsky: the transition to America Kimberly Francis 16. Conversations with Craft Anna Schmidtmann Part IV. Performance and Performers: 17. Challenges to realism and tradition: Stravinsky's modernist theatre Massimiliano Locanto 18. Igor Stravinsky and ballet as modernism Stephanie Jordan 19. Stravinsky's ear for instruments Chris Dromey 20. Towards a conductor-proof ideal Hannah Baxter 21. The pianist in the recording studio: re-imagining interpretation Daniel Barolsky 22. The legacy of Stravinsky as recorded history Per Dahl Part V. Aesthetics and Politics: 23. Stravinsky versus literature Emily Frey 24. Stravinsky and Greek antiquity Katerina Levidou 25. Stravinsky's response to 'Japonisme' Mai Ikehara 26. Stravinsky, modernism and mass culture Ross Cole 27. Perspectives on Schoenberg and Stravinsky: Adorno and others Alan Street 28. Stravinsky's 'problematical' political orientation during the 1920s and 1930s Erik Levi Part VI. Reception and Legacy: 29. The Apollonian clockwork re-wound Elmer Schönberger 30. Stravinsky reception in the USSR Philip Ewell 31. The Stravinsky/Craft conversations in Russian and their reception Olga Manulkina 32. Publishing Stravinsky Nigel Simeone 33.Copyright, the Stravinsky estate, and the Paul Sacher foundation Heidy Zimmermann 34. Evoking the past, inspiring the future Lynne Rogers 35. 'Music is, by its very essence, powerless to express anything at all' Daniel K L Chua Index.
Preface List of Contributors List of Abbreviations Part I. Russia and Identity: 1. Memory and truth: Stravinsky's childhood (1882-1901) Catriona Kelly 2. Religion, life and death in St Petersburg Natalia Braginskaya 3. Kashperova and Stravinsky: the making of a concert-pianist Graham Griffiths 4. Reminiscences of Rimsky-Korsakov, his family and artistic circle Lidia Ader 5. Orthodoxies and unorthodoxies: Stravinsky's spiritual journey Ivan Moody 6. The Russian soul Rowan Williams Part II. Stravinsky and Europe: 7. Sergei Diaghilev and Stravinsky: from world of art to ballets russes John E. Bowlt 8. Paris and the Belle Époque Davinia Caddy 9. Paris, Art Deco, and the spirit of Apollo Jonathan Cross 10. Stravinsky's Spain: fan or mirror? Graham Griffiths 11. 'It is Venice that he loves¿' Mauricio Dottori Part III. Partnerships and Authorship: 12. Stravinsky's sphere of influence: Paris and beyond Inessa Bazayev 13. Stravinsky and his literary collaborators Maureen Carr 14. Assuming co-authorship: Stravinsky and his 'ghost-writers' Valérie Dufour 15. Nadia Boulanger and Stravinsky: the transition to America Kimberly Francis 16. Conversations with Craft Anna Schmidtmann Part IV. Performance and Performers: 17. Challenges to realism and tradition: Stravinsky's modernist theatre Massimiliano Locanto 18. Igor Stravinsky and ballet as modernism Stephanie Jordan 19. Stravinsky's ear for instruments Chris Dromey 20. Towards a conductor-proof ideal Hannah Baxter 21. The pianist in the recording studio: re-imagining interpretation Daniel Barolsky 22. The legacy of Stravinsky as recorded history Per Dahl Part V. Aesthetics and Politics: 23. Stravinsky versus literature Emily Frey 24. Stravinsky and Greek antiquity Katerina Levidou 25. Stravinsky's response to 'Japonisme' Mai Ikehara 26. Stravinsky, modernism and mass culture Ross Cole 27. Perspectives on Schoenberg and Stravinsky: Adorno and others Alan Street 28. Stravinsky's 'problematical' political orientation during the 1920s and 1930s Erik Levi Part VI. Reception and Legacy: 29. The Apollonian clockwork re-wound Elmer Schönberger 30. Stravinsky reception in the USSR Philip Ewell 31. The Stravinsky/Craft conversations in Russian and their reception Olga Manulkina 32. Publishing Stravinsky Nigel Simeone 33.Copyright, the Stravinsky estate, and the Paul Sacher foundation Heidy Zimmermann 34. Evoking the past, inspiring the future Lynne Rogers 35. 'Music is, by its very essence, powerless to express anything at all' Daniel K L Chua Index.
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