Igor Stravinsky. We just missed the anniversary of the great composer, who was born on June 17, 1882 in Oranienbaum, near St-Petersburg. Probably one of the most influential musicians of the 20th century, he changed styles as often as he adopted countries. Born in Russia, he moved to Switzerland in 1910 and then, in 1920, to France, where he settled for the next 20 years and became a citizen. With the Second World War approaching, Stravinsky moved to the United States, where he lived for the rest of his life (he was naturalized in 1945). Stravinsky died on April 6, 1971. But even more remarkable was the ease with which he changed his compositional styles. The early (Russian) period saw the creation of the three ballets, The Firebird in 1910, Petrushka a year later, and The Rite of Spring in 1913. All three were commissioned by Sergei Diagilev, the celebrated impresario and creator of Ballets Russe. The Rite of Spring famously provoked a riot during the premier at the Théâtre des Champs-Élysées in Paris. Almost 100 years later one still looks at this star-studded event in awe: the ballet was choreographed by Vaslav Nijinsky, one of the greatest dancers of all time, the set design and costumes were created by Nicholai Roerich, the famous Russian painter (and philosopher). The conductor on that night was Pierre Monteux.
In the 1920s Stravinsky radically changed his style. The exuberance of the Russian period was replaced with the neoclassical detachment of such compositions as the ballet Apollon musagète and three symphonies, Symphony of Psalms, Symphony in C, and Symphony in Three Movements. Later, in the 1950s he dabbed in serialism, the ballet Agon being probably the most important piece of that period. One thinks of Pablo Picasso, another cosmopolitan genius of the 20th century, who in the span of 20 years went from the Blue period to the Rose period to cubism, and then, like Stravinsky, to neoclassicism. (There are other similarities in their biographies: both lived most of their lives outside of their countries of birth, which they for the most part detested; France was central to both of them; both were married to Russian women; and even their lives practically coincided: Picasso was born less than a year earlier than Stravinsky, and died just one year later).
We’ll hear four compositions. First, Danse Russe, from the ballet Petrushka, arranged for the piano by the composer himself in 1921. It’s played by Gideon Rubin. Then, also from the Russian period, Five Easy Pieces (1917). They’re performed by Silver-Garburg Piano Duo. Two following pieces are from the neoclassical period: Suite Italienne for violin and piano, based on the ballet Pulcinella, is performed by the violinist Ilana Setapen, with Kuang-Hao Huang on the piano. Finally, Sonata (1924) is played by the young Israeli pianist Einav Yarden. To listen, click here.
June 20, 2011
Igor Stravinsky. We just missed the anniversary of the great composer, who was born on June 17, 1882 in Oranienbaum, near St-Petersburg. Probably one of the most influential musicians of the 20th century, he changed styles as often as he adopted countries. Born in Russia, he moved to Switzerland in 1910 and then, in 1920, to France, where he settled for the next 20 years and became a citizen. With the Second World War approaching, Stravinsky moved to the United States, where he lived for the rest of his life (he was naturalized in 1945). Stravinsky died on April 6, 1971. But even more remarkable was the ease with which he changed his compositional styles. The early (Russian) period saw the creation of the three ballets, The Firebird in 1910, Petrushka a year later, and The Rite of Spring in 1913. All three were commissioned by Sergei Diagilev, the celebrated impresario and creator of Ballets Russe. The Rite of Spring famously provoked a riot during the premier at the Théâtre des Champs-Élysées in Paris. Almost 100 years later one still looks at this star-studded event in awe: the ballet was choreographed by Vaslav Nijinsky, one of the greatest dancers of all time, the set design and costumes were created by Nicholai Roerich, the famous Russian painter (and philosopher). The conductor on that night was Pierre Monteux.
In the 1920s Stravinsky radically changed his style. The exuberance of the Russian period was replaced with the neoclassical detachment of such compositions as the ballet Apollon musagète and three symphonies, Symphony of Psalms, Symphony in C, and Symphony in Three Movements. Later, in the 1950s he dabbed in serialism, the ballet Agon being probably the most important piece of that period. One thinks of Pablo Picasso, another cosmopolitan genius of the 20th century, who in the span of 20 years went from the Blue period to the Rose period to cubism, and then, like Stravinsky, to neoclassicism. (There are other similarities in their biographies: both lived most of their lives outside of their countries of birth, which they for the most part detested; France was central to both of them; both were married to Russian women; and even their lives practically coincided: Picasso was born less than a year earlier than Stravinsky, and died just one year later).
We’ll hear four compositions. First, Danse Russe, from the ballet Petrushka, arranged for the piano by the composer himself in 1921. It’s played by Gideon Rubin. Then, also from the Russian period, Five Easy Pieces (1917). They’re performed by Silver-Garburg Piano Duo. Two following pieces are from the neoclassical period: Suite Italienne for violin and piano, based on the ballet Pulcinella, is performed by the violinist Ilana Setapen, with Kuang-Hao Huang on the piano. Finally, Sonata (1924) is played by the young Israeli pianist Einav Yarden. To listen, click here.