Stravinsky and the Russian Traditions: A Biography of the Works through Mavra, Two-volume set
| Author | : | |
| Rating | : | 4.46 (754 Votes) |
| Asin | : | 0520070992 |
| Format Type | : | paperback |
| Number of Pages | : | 1800 Pages |
| Publish Date | : | 2017-07-26 |
| Language | : | English |
DESCRIPTION:
debunking the myth slightlykooky Taruskin's 2 volume set into Stravinsky's "Russian" period is still the MOST comprehensive investigation for those wanting a more discernible picture of the gestation of works from that period, including the Firebird, Petrushka, the Rite and Les Noces. For example Taruskin compares wedding laments used by Russian brides with those foun. "Essential reading" according to Bernard Hughes. This is an extraordinary book which will re-define Stravinsky scholarship. It is by far the best book published on Stravinsky, with perhaps one exception (The Apollonian Clockwork by Andriessen and Schoenberger). Taruskin's scholarship is of the highest quality, his knowledge of Russian music awe-inspiring, and the revelations he uncov
He elucidates the Silver Age ideal of "neonationalism"—the professional appropriation of motifs and style characteristics from folk art—and how Stravinsky realized this ideal in his music.Taruskin demonstrates how Stravinsky achieved his modernist technique by combining what was most characteristically Russian in his musical training with stylistic elements abstracted from Russian folklore. Richard Taruskin has refused to take the composer at his word. The stylistic synthesis thus achieved formed Stravinsky as a composer for life, whatever the aesthetic allegiances he later professed.Written with Taruskin's characteristic mixture of in-depth research and stylistic verve, this book will be mandatory reading
We are used to thinking of Stravinsky in terms of avant-garde Paris in the 1920s, the epitome of modernism. . He illustrates the composer's legacy from Rimsky-Korsakov, Glazunov, Scriabin, and Tchaikovsky in the pre-Diaghilev period, and dazzles with his analysis of folk influence in "Petrushka" and on through the famously innovative, yet rooted "The Rite of Spring." Further volumes will be eagerly awaited by all lovers of Stravinsky's music. These two hefty volumes of unassailable scholarship and fascinating detail correct this blinkered vision, which to some extent is a product of Stravinsky's own self-marketing. Richard Taruskin demonstrates Stravinsky's place in the specific cultural traditions of his homeland, pulling together with impressive intellectual breadth the influences of Russian music, art, literature, folklore, religious liturgy, and more