Igor Fyodorovich Stravinsky (Russian: Игорь Фёдорович Стравинский) (17th Ju… Read Full Bio ↴Igor Fyodorovich Stravinsky (Russian: Игорь Фёдорович Стравинский) (17th June 1882 – 6th April 1971) was a Russian composer who first achieved international fame with three ballets commissioned by the impresario Serge Diaghilev and performed by Diaghilev's Ballets Russes (Russian Ballet): L'Oiseau de feu ("The Firebird") (1910), Petrushka (1911), and Le sacre du printemps ("The Rite of Spring") (1913).
Stravinsky's compositional career was notable for its stylistic diversity. After his first, Russian (expressionistic), phase he turned in the 1920s to neoclassicism. The works from this period tended to make use of traditional musical forms (concerto grosso, fugue, symphony), frequently concealed a vein of intense emotion beneath a surface appearance of detachment or austerity, and often paid tribute to the music of earlier masters, for example J.S. Bach, Verdi and Tchaikovsky.
In the 1950s he adopted serial procedures, using the new techniques over the final twenty years of his life to write works that were briefer and of greater rhythmic, harmonic, and textural complexity than his earlier music. Their intricacy notwithstanding, these pieces share traits with all of Stravinsky's earlier output; rhythmic energy, the construction of extended melodic ideas out of a few cells comprising only two or three notes, and clarity of form, instrumentation, and of utterance.
Stravinsky only started using the twelve-tone system after the death of Schoenberg in 1951. At that time dodecaphony was a well-known and widely spread system that was generally accepted as a valuable 'replacement' of the tonal system. Therefore, some musicologists thought it wiser to consider the serial works of Stravinsky as a sort of neo-dodecaphony, meaning that they are also conceived as "neoclassical".
Stravinsky achieved fame as a pianist and conductor, often at the premieres of his works. He was a writer and compiled, with the help of Alexis Roland-Manuel, a theoretical work entitled Poetics of Music, in which he famously claimed that music was incapable of "expressing anything but itself". Several interviews in which the composer spoke to Robert Craft were published as Conversations with Stravinsky. They collaborated on five further volumes over the following decade.
Stravinsky's compositional career was notable for its stylistic diversity. After his first, Russian (expressionistic), phase he turned in the 1920s to neoclassicism. The works from this period tended to make use of traditional musical forms (concerto grosso, fugue, symphony), frequently concealed a vein of intense emotion beneath a surface appearance of detachment or austerity, and often paid tribute to the music of earlier masters, for example J.S. Bach, Verdi and Tchaikovsky.
In the 1950s he adopted serial procedures, using the new techniques over the final twenty years of his life to write works that were briefer and of greater rhythmic, harmonic, and textural complexity than his earlier music. Their intricacy notwithstanding, these pieces share traits with all of Stravinsky's earlier output; rhythmic energy, the construction of extended melodic ideas out of a few cells comprising only two or three notes, and clarity of form, instrumentation, and of utterance.
Stravinsky only started using the twelve-tone system after the death of Schoenberg in 1951. At that time dodecaphony was a well-known and widely spread system that was generally accepted as a valuable 'replacement' of the tonal system. Therefore, some musicologists thought it wiser to consider the serial works of Stravinsky as a sort of neo-dodecaphony, meaning that they are also conceived as "neoclassical".
Stravinsky achieved fame as a pianist and conductor, often at the premieres of his works. He was a writer and compiled, with the help of Alexis Roland-Manuel, a theoretical work entitled Poetics of Music, in which he famously claimed that music was incapable of "expressing anything but itself". Several interviews in which the composer spoke to Robert Craft were published as Conversations with Stravinsky. They collaborated on five further volumes over the following decade.
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15Le Sacre Du Printemps (The Rite Of Spring) (Version For Piano 4 Hands): Part I The Adoration Of The Earth: Introduction3:16Igor Stravinsky
16Le sacre du printemps (The Rite of Spring) (version for piano 4 hands): Part I: Auguries of Spring (Dances of the Young Girls)2:54Igor Stravinsky
17Le sacre du printemps (The Rite of Spring) (version for piano 4 hands): Part I: Ritual of Abduction1:13Igor Stravinsky
18Le sacre du printemps (The Rite of Spring) (version for piano 4 hands): Part I: Spring Rounds3:22Igor Stravinsky
19Le sacre du printemps (The Rite of Spring) (version for piano 4 hands): Part I: Games of the Rival Tribes1:46Igor Stravinsky
20Le sacre du printemps (The Rite of Spring) (version for piano 4 hands): Part I: Procession of the Wise Elder0:38Igor Stravinsky
21Le sacre du printemps (The Rite of Spring) (version for piano 4 hands): Part I: The Sage0:21Igor Stravinsky
22Le sacre du printemps (The Rite of Spring) (version for piano 4 hands): Part I: Dance of the Earth1:10Igor Stravinsky
23Le Sacre Du Printemps (The Rite Of Spring) (Version For Piano 4 Hands): Part II The Sacrifice: Introduction4:48Igor Stravinsky
24Le sacre du printemps (The Rite of Spring) (version for piano 4 hands): Part II: Mystic Circles of the Young Girls2:47Igor Stravinsky
25Le sacre du printemps (The Rite of Spring) (version for piano 4 hands): Part II: Glorification of the Chosen One1:28Igor Stravinsky
26Le sacre du printemps (The Rite of Spring) (version for piano 4 hands): Part II: Evocation of the Ancestors0:42Igor Stravinsky
27Le sacre du printemps (The Rite of Spring) (version for piano 4 hands): Part II: Ritual Action of the Ancestors3:37Igor Stravinsky
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STRAVINSKY: Music for Two Pianos
Igor Stravinsky Lyrics
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