Music Appreciation 3e Kamien
	Online Learning Center

Igor Stravinsky (1882-1971)

One can easily argue that Igor Stravinsky was the most important composer of the first half of the twentieth century. Even today, his rhythmic and harmonic innovations continue to emerge in the works of composers in a variety of styles, from rock to motion picture soundtracks. Born in 1882 in a small town near St. Petersburg, Stravinsky's early exposure to music came from his father who was a bass in the Russian Imperial Opera. Although Stravinsky initially embarked on a career in law, his studies were eclipsed by his activity as a composer when he began studying composition with the famous Russian nationalist composer Nikolai Rimsky-Korsakov. In 1909 Stravinsky was introduced to Sergei Diaghilev who, impressed with the young man's musical potential, invited Stravinsky to orchestrate some piano works by Chopin as ballet music. This encounter was followed by commissions from Diaghilev for a series of ballets for the Russian Ballet (i.e., The Firebird, 1910; Petrushka, 1911; and Le Sacre du printemps (The Rite of Spring, 1913). Thus on the eve of the war to end all wars, Stravinsky emerged as the most important composer of the period. During World War I, Stravinsky found refuge in Switzerland and France. When signs of the Second World War began to surface, the composer moved to the United States (Hollywood, California) where he remained until his death in 1971. Stravinsky returned to his native Russia for a short visit in 1962.

It has been said that the only consistency to be found in the music of Stravinsky is its stylistic inconsistency. Indeed, Stravinsky changed his compositional technique a number of times over the course of his career. Up until about 1920, Stravinsky's music outwardly exhibited the influence of his Russian heritage. His studies with Rimsky-Korsakov are reflected in his exotic orchestration and utilization of Russian folk song. However, by 1920 Stravinsky had entered what has been called his neoclassical period (ca 1920-1950). In his later years, the composer adopted Schoenberg's twelve-tone system. This move came as a surprise to most of Stravinsky's followers as up until this time Stravinsky had publically (and vehemently) criticized the technique.

Although numerous books and articles have been devoted to the evolution of Stravinsky's musical language, a few of the most important characteristics can be outlined here. With regard to harmony, Stravinsky's style may be summed up in a familiar word, ambiguity. For example, the opening phrase of his ballet Petrushka (example below) serves as an excellent example of polytonality (the use of two or more keys at the same time). More specifically, this particular passage is an example of bitonality (two different keys used simultaneously). Note that while the first clarinet plays a melodic figure rooted in C major, the second clarinet plays the same melody in the key of F sharp major. The superimposition of the two keys conveys a sound that would have been shocking at the turn of the century.

Petrushka

Although Stravinsky employed many unique harmonic effects, he remembered primarily for his revolutionary utilization of rhythm. Like other composers of his generation Stravinsky sought an escape from the predictable nature of traditional rhythmic patterns. Through the use of changing meters, shifts in rhythmic accents, and the exploitation of silence at unexpected points, Stravinsky shocked the world with new and exciting rhythmic patterns. Most of these characteristics are presented in a selection from Le Sacre du printemps (The Rite of Spring).

Additional information can be found on the Kamien web site http://auth.mhhe.com/socscience/music/kamien

Copyright ©1998 by the McGraw-Hill Companies, Inc.

Copyright ©1998 The McGraw-Hill Companies. All rights reserved. Any use is subject to the Terms of Use and Privacy Policy.
McGraw-Hill Higher Education is one of the many fine businesses of The McGraw-Hill Companies.
For further information about this site contact music@mcgraw-hill.com.