Stravinsky's Piano: Genesis of a Musical Language
Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, is here placed at the centre of a fundamental reconsideration of his whole output - viewed from the unprecedented perspective of his relationship with the piano. Graham Griffiths assesses Stravinsky's musical upbringing in St Petersburg with emphasis on his education at the hands of two extraordinary teachers whom he later either ignored or denounced: Leokadiya Kashperova, for piano and Rimsky-Korsakov, for instrumentation. Their message, Griffiths argues, enabled Stravinsky to formulate from that intensely Russian experience an internationalist brand of neoclassicism founded upon the premises of objectivity and craft. Drawing directly on the composer's manuscripts, Griffiths addresses Stravinsky's lifelong fascination with counterpoint and with pianism's constructive processes. Stravinsky's Piano presents both of these as recurring features of the compositional attitudes that Stravinsky consistently applied to his works, whether Russian, neoclassical or serial and regardless of idiom and genre.
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Becoming a Russian musician
Becoming a neoclassicist
Stravinskys piano workshop
microﬁlm 220 p 634 The Paul Sacher Stiftung Basel
from Chapter 16 Chords 1902 G Schirmer Inc
Iune 1914 The Paul Sacher Stiftung Basel
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Accordgruppe aesthetic arpeggios articulation Autobiography Bach’s Balanchine chords Cingria cited classical Complete School composer composer’s composition conﬁrm Conservatoire context contrapuntal counterpoint Creative Spring Czerny deﬁned didactic duet Duo concertant Eric Walter White example exercises ﬁgures ﬁnd ﬁngers ﬁrst movement fugue hand Ibid idiom Igor Stravinsky improvisation inﬂuence instrumental Ioseph Isidor Philipp Kashperova keyboard legato Leschetizky Method London material neoclassical neoclassicism notes Octuor ofthe pal’tserazvitiye passage Paul Sacher pedal performance Petrushka pianistic Piano Concerto piano technique Pictures and Documents Prentner Principles of Orchestration Psalms pupil reference reﬂects rhythmic Richard Taruskin Rimsky Rimsky-Korsakov Rimsky’s Rite ritornello Robert Craft Rubinstein Russian Traditions Schott Music score sense serial signiﬁcant sketches Solo Pianos Sonate sonority speciﬁc St Petersburg Stravinsky and Craft Stravinsky in Pictures Stravinsky’s neoclassical Stravinsky’s piano suggest Symphony in Three Symphony ofPsalms Taruskin technical texture Three Movements tion trans tserazvitiye University Press violin Walsh work’s writing