Book Description
A reprint of the original full-score edition of the most famous musical work of the 20th century, created as a ballet score for Diaghilev's Ballets Russes.
Customer Reviews:
Great Cheap Score.......2007-06-29
If you are enthralled with the Rite's rhythm, harmony, or whatever... this is the perfect opportunity to see the orchestration and metric usage. As someone who loves the Rite, and analyzing music, this was a no brainer. Cheap and easy to read. Absolutely fantastic.
Well Worth The Money!.......2006-01-17
From Jordan in Minnesota
In 1998 I bought the original score of Le Sacre du Printemps from Kalmus for 65.00 dollars!! Although the Kalmus version in cited from numerous musicians and stravinsky himself, this version of dovers is well worth the 10 dollars!! It is pretty much the same as Kalmus' but it has no chief editor, and since its a reprint it will have the same concept as the Kalmus score, only it is 55.00 dollars cheaper. If anyone wants the 4 extra pages of the kalmus version that compares the scores, I would be happy to copy it and send them, as long as people realize that the Kalmus version as of January 16 2006 is almost 100.00. So stick with this dover version it will definately save you the money!!
cojo0502@stcloudstate.edu
Simply An Amazing Revelation!!.......2004-06-26
"The Rite of Spring In Full Score" contains the complete unabridged score of composer Igor Stravinsky's timeless classic "The Rite Of Spring". Besides presenting the full musical notation for the entire piece, this book also contains a brief but detailed history on the work. Looking at the score is an astounding revelation into Stravinsky's creative genius. What often sounds like pure noise on recordings and in performance is in reality carefully notated and fully realized. In other words, Stravinsky knew exactly what he was after when he composed "The Rite of Spring" and the score proves it in all its glory. Even if you can't read music, if you're a fan of Igor Stravinsky and "The Rite Of Spring", this score is an essential guide and study tool to this revolutionary work. It also offers an insight into the composer's fascinating creative mind.
Most strongly recommended!.......2002-08-15
It's no secret that "Vjesná Svjashchjénnaja" ("Spring Consecrated", a literal translation of the original Russian title) is an exceedingly difficult piece to understand; doubly so if all one can do is hear a recording. A score is essential for it to be fully understood - and what better way to handle this challenge than via this reprint from a Soviet edition(outstandingly accurate yet inexpensive)? Another bonus: you also get to sample some of the thinking and ideology that Communism was forcing on its people in all regards and all walks of life - outstanding reminder of what political correctness can do to us all(this warning especially meant for those who believe in it in any way whatsoever...)!! Buy this without delay!!!
Probably the greatest musical composition of all times.......2000-04-20
For anyone who loves music in general as much as I do, Stravinsky's Rite Of Spring can be, to say the least, a shockingly intense listening experience, full of strangely dissonant polytonal simultaneities, overwhelming rhythmic dephasing, and colorful details and timbristic effects that take maximum advantage of what a great symphony orchestra has to offer. This edition of the translated original score allows you a better understanding of this revolutionary musical monsterpiece, with visual complement to what your ears couldn't even consider figuring out. Sometimes it's simpler than you would imagine; sometimes it's much, much more complex. This work taught me a great deal about music composition & arranging, and the book also allowed me to write a reduction of the "Spring Rounds" for a 7-piece band.
Book Description
This book is the first to be devoted to the music of Stravinsky’s last compositional period. In the early 1950s, Stravinsky’s compositional style began to change and evolve with astonishing rapidity. He abandoned the musical neoclassicism to which he had been committed for the preceding three decades and, with the stimulus provided by his newly gained knowledge of the music of Schoenberg and Webern, launched himself on a remarkable voyage of compositional discovery. The book focuses on five historical, analytical, and interpretive issues: Stravinsky’s relationship to his serial predecessors and contemporaries; his compositional process; the problem of creating formal continuity in a repertoire so obviously discontinuous in so many ways; the problem of writing serial harmony; and the problem of expression and meaning. Challenging conventional interpretations, the book shows that Stravinsky’s serial music is not only of great historical significance, but also of astonishing structural originality and emotional power.
Book Description
This, the second and final volume of Stephen Walsh’s magisterial biography of Igor Stravinsky, begins in 1934, when Stravinsky is fifty-two and living in France. Already regarded by many as the most important composer of his generation, Stravinsky is nevertheless at this point a fairly unhappy expatriate, all too aware of the war clouds beginning to gather. Though he still maintains a family life with his wife and children, much of his time is spent with his mistress, Vera Sudeykina, while traveling around Europe giving concerts in order to earn the money to support his dependents–which include a number of relatives. Composing, of course, remains the center of his existence. But changes are imminent: within only a few years his wife, Katya, will be dead, his family scattered, and Stravinsky himself, together with Vera, starting over again in America.
Stravinsky: The Second Exile follows the composer through the remainder of his long life, years during which he produces such masterworks as The Rake’s Progress and Symphony in C, and achieves a new level of fame as a conductor and raconteur in his own right. With a dazzling command of sources in several languages and a keen feeling for accuracy in situations where truth and falsehood have become blurred, Walsh traces and illuminates Stravinsky’s increasingly complex and often agonized family relationships along with his crucially important connection with his associate Robert Craft. Walsh is also, as a musicologist and critic, able to speak with knowledge and wit about Stravinsky’s work, expertly describing and assessing the composer’s musical journey from the neoclassicism of his late French and early American periods, through his early essays in serial technique, and on finally to the astonishing intricacies of his final compositions.
The first volume of this biography, Stravinsky: A Creative Spring, was received with glowing praise for its insight, narrative skills, and readability. The period covered here, beset as it is with myths and misconceptions, is handled with even greater authority.
Carefully weighed, eloquent, packed with rich and fascinating detail, it casts a brilliant new light on one of the greatest artists of our time.
Customer Reviews:
Not the best work on Stravinsky.......2006-08-02
Mr. Walsh's new book on Stravinsky has some interesting anecdotes and insights into the years in America for the composer but seems to lack real relevance historically.
What seems to be missing from this new book is any primary sources for his many anecdotes. The Stravinsky estate after his death is a matter of public record in the courts, yet Mr. Walsh has not done the research to get the real facts. Why?
There are excellent books by sources much closer to Stravinsky--to say the least Robert Craft's. Craft a twenty year associate of Stravinsky documented just about every waking moment of Stravinsky's life. Referring back to some of Craft's books on Stravinsky I find that Walsh has lifted numerous writings from Craft rather than bringing anything of real interest to life for the reader.
I have to say, this book is not the best work on Stravinsky and I hope other readers will go to better sources for a cohesive and cogent telling of Stravinsky's life and career.
The apex of the biographer's art.......2006-07-06
unless Mr. Walsh prefers 'musicologist' to 'biographer'. When I finished volume II, I immediately went and bought volume I. I rated the book 5 stars but wish I could give it 6. As a retired music librarian, I am cautious in following the hype about any new book on music/musicians/musicology that is making the rounds and more often than not, while the reviews may be accurate, regrettably, there are times they're not accurate enough. I think Mr. Walsh's two volumes are stunning. I think they are so good that once started, one wants to do nothing but sit and read them.
The period and the musical life out of which Stravinsky emerged is not unknown to me and I think the deepest connection I developed with Stravinsky's music was when I played in a performance of Symphony of Psalms. Whether or not I walked away humming portions of it (which is unlikely since I cannot sing), the music has left, to use a trite phrase, an indelible mark on both my musical and cultural psyche, but so has the personality of Stravinsky himself. And Mr. Walsh does an incredibly job of making him breathe. It isn't just Stravinsky who breathes in the course of reading this book (I haven't finished Volume I) but the words and the events and the people take on a life that is far more than facts as accurate as they might be.
I cannot recommend these two volumes highly enough and I only wish it was possible for Mr. Walsh to write a third.
A valuable second volume of an important biography of Stravinsky.......2006-06-03
Regardless of your opinion of his music, there is no doubt that Igor Stravinsky was one of the most significant composers of the twentieth century. I love his music and find his many changes in style fascinating. And while his big well-known masterworks (even the debate over which those are) are more widely appreciated, I also find his smaller works interesting and engaging. No matter what he did, Stravinsky created works that were among the most lively and engaging in whatever style he was using. He was fiercely independent and uncompromisingly himself. Given the course of the life he led and the multiple exiles alluded to in the subtitle, the strength he had to maintain that originality is possibly the most amazing thing about the man.
This very large and very detailed biography of Stravinsky's life from 1934 until his death in 1971 is fascinating on several levels. For me, the most interesting part and the primary reason I wanted to read the book is to read in more detail the circumstances of the birth of the compositions from this half of the composer's life. Who commissioned what, how the final composition was or was not what was originally discussed, what the considerations were for the resources used, and then Stravinsky's use of serial techniques (and how that developed and how the variety of approaches he took to serialism remained Stravinsky).
There is also the story of his life in Europe and then the move to the United States. The strange relationship between Stravinsky's first wife (whom he loved all his life even after she died) and his second wife, Vera, while his first wife was still alive and Vera was his mistress. Of course, this affected his relationship with his children, as did his life in Hollywood while they lived in Europe. Soulima later came to California and lived with Stravinsky for a time, but got a post on the piano faculty of the University of Illinois at Champaign-Urbana. Stravinsky's family details are not simple and it is interesting how the author, Stephen Walsh, teases them out.
Stravinsky never held an academic post beyond some short term lecturing and teaching of composition. He never even received an academic degree. He was a man who had to depend on himself and his music to make his way in the world. The reputation he had developed as modernist was both a source of pride and riches as well as a reason for others to attack him (from both the old and new guard). That he was strong enough to take the blows and keep composing and creating wonderful new works is a testimony of his own internal strength and of those who cared about him and supported him emotionally and in the practical day-to-day matters that allowed him time and space to compose.
Of course, whenever one considers this portion of Stravinsky's life, especially his close associates, the name of Robert Craft is right at the front if a bit off center. Walsh presents a complex picture of Craft (which means it is likely close to realistic) that acknowledges the important role Craft performed in getting Stravinsky through his compositional crisis after "The Rake's Progress". Stravinsky thought he was finished. He was nearly seventy years old and most composers (with a few notable exceptions) are no longer composing by that age. But many writers and composers have a period of being blocked at one time or another and find a way out. Would Stravinsky have found a way out on his own? Maybe. However, Craft was there and it was his support and guidance in the serial methods that gave Stravinsky new impetus and we have several wonderful masterpieces and many other interesting works from 1952 that would certainly not have come about without Craft and the role he played. However, Walsh also takes a clear and dispassionate look at Craft's statements and finds some of them truthful, others somewhat at odds with the facts, and others to be outright misrepresentations. The author is also as clear as it is possible to be about which letters, reviews, and books Craft wrote in Stravinsky's name. At some point it is not knowable whether Craft was saying what Stravinsky wrote in different words or which pieces are Craft using the Stravinsky name to advance his own agenda.
The last few years of the composer's life, after the "Requiem Canticles", are a period of decline and rising family tensions. How all that explodes in sad recrimination and jealousies after Stravinsky's death is quite sad. Nobody comes off all that well, but Vera and Craft least of all. I am sure they would tell this story differently (and Craft has), but it seems to me that the children (then older adults) were not treated as well as they should have been.
In any case, I am grateful to Craft for the support he gave Stravinsky and music that support allowed him Stravinsky to write and the support he gave Stravinsky in promoting his work and in conducting and recording his works, especially when Stravinsky was too frail to do the work himself. Craft as a person is simply human after all with feet of clay (maybe clay up past the knees for all I know), but he still fulfilled an important purpose in Stravinsky's artistic life. Others may well have their own jealousies and resentments against him that exaggerate his flaws and assign motives that do not exist. Still, this book does a fine job in sorting out certain aspects of various situations that have been muddled and misrepresented until now.
The author does say some strange things about disease, but he is using the language the Stravinsky's used. For example, that a cold worsened into the flu or that tuberculosis was inherited. There is more of this kind of thing. He also focuses a great deal on the high commission and conducting fees Stravinsky charged. This is a fair point, but isn't really given its full context. Stravinsky was in huge demand; he was a unique commodity so he simply asked for enough money to make it worth his while. This may have upset some who would have preferred to get his work more affordably, but so what? Just compare what he received to popular artists such as Elvis and Frank Sinatra and all of a sudden he doesn't look so well paid.
For me, the most odd thing the author said is on page 464 where the author refers to "The Rite of Spring" as a late romantic masterpiece. I was so startled that I had to stop reading. I remember when I first heard this work in 1971 or 1972 in a high school music theory class (music rudiments and grammar, really). It astounded me because I had never heard anything like it. As I played recordings for my friends, some thought I was running the music backwards. Nowadays, it does not shock nearly as much as it did even a few decades ago, but it certainly still has freshness and power. Stravinsky is a modern composer, not a Romantic composer of any stripe. You might get away with calling Firebird romantic, but even there it has little in common with Mahler or Richard Strauss or even Rachmaninoff does it? Such a label seems to me to be too much bowing to the serialists and other academic moderns. Is this really the term being used for this founding work of modern music outside the Boulez - Stockhausen - Babbit believers?
I enjoyed this book a great deal and it will have a valued place in my library.
Exhaustive Biography of Stravinsky from 1934 to His Death.......2006-05-11
Following up the wonderful first volume of his biography of Stravinsky, Cardiff University musicologist Stephen Walsh gives us a second and final volume that begins in 1934 and ends with Stravinsky's death in 1971. This takes us through the unsettled 1930s, his emigration to America and then the final years with his conversion to ultra-modern techniques. It would appear that Walsh has read and digested everything written about the composer during the times in question, and he has interviewed many people who knew and worked with him. At times the narrative is weighted down by 'and then he conducted X in Y' but his always graceful, indeed beautiful, prose makes even those laundry list sections interesting reading. There is some attention paid to the ins and outs of the works themselves but this does not pretend to be an analysis of Stravinsky's oeuvre; Walsh has already written such a book, the exceedingly valuable 'The Music of Stravinsky.'
There is, of course, a good deal of mention of that most important of late Stravinsky associates, Robert Craft, who has himself written extensively about the composer. There are some disagreements with Craft's published statements, but less than one might imagine and it is done with evenhandedness and tact. Nonetheless, he indicates that Craft's personal involvement with Stravinsky led to some imprecision in his observations and assessments.
For those who have read the earlier volume this is a must-have. For those who are tempted to get this volume without having read the earlier one, I'd suggest some caution. In the present volume there are many references to incidents and people whose importance is unexplained and which can only be gleaned from having first read the earlier volume, 'A Creative Spring.' But taken together these two volumes are indispensable for anyone wanting to understand Stravinsky the man.
Scott Morrison
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The Firebird: Original 1910 Version (Dover Miniature Scores)
Igor Stravinsky
Manufacturer: Dover Publications
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The Rite of Spring (Dover Miniature Scores)
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Petrushka (Dover Miniature Scores)
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Five Orchestral Pieces (Dover Miniature Scores)
ASIN: 0486414035 |
Book Description
Commissioned by Serge Diaghilev, the director of the Ballets Russes, this dazzling piece brought overnight success to its composer. Based on a series of Russian fairy tales, Stravinsky's modern masterpiece is greatly admired for its brilliant orchestration and harmony, and it remains as popular today as at its 1910 premiere.
Book Description
Stravinsky is one of the most original creative musicians of the 20th century. In a career spanning six decades he composed a glittering sequence of works of astonishing diversity, from the three, vividly colourful early Russian ballets, through the sharp wit and purity of his `neo-classical' scores and the powerful spirituality of works like the Symphony of Psalms and the Mass, to the highly individual application of serialism in the late works. Here is a critical survey of Stravinsky's entire output in chronological order from an authoritative lucid guide. Its author, Stephen Walsh, has effortlessly assimilated the new literature on the composer, has examined many of Stravinsky's letters and sketches, and is able, in continuously questioning received views, to provide fresh insight into Stravinsky's works. He argues persuasively that Stravinsky needs to be seen as a whole, and that the works are more closely connected in style and method than is generally acknowledged, with changes in stylistic posture secondary in importance.
Customer Reviews:
authoritative.......1999-03-09
The most authoritative examination to date of the music of the premier composer of the twentieth century. We eagerly await Mr. Walsh's two volume biography of the subject.
Customer Reviews:
Roll over Beethoven and tell Tchiakovsky the news..........2003-02-04
It is nice to see that along with Ludwig Van Beethoven, Wolfgang Amadeus Mozart, and Peter Tchaikovsky that author/illustrator Mike Venezia is also looking at 20th century types like Duke Ellington, George Gerswhin, Igor Stravinsky, and the Beatles for his Getting to Know the World's Greatest Composers series. In case the young readers who come across this book do not know, Venezia points out that from 1964 to 1970 the Beatles were the most popular musical group in the world. Unlike most of the other great composers Venezia looks at the Beatles never had any real musical training and were pretty much self taught. Venezia talks about the origins of rock 'n' roll and the influence of particular artists on the Beatles. He then provides early biographies for John, Paul, George and Ringo, with each of the Fab Four getting their own cartoon, before providing a brief history of the band.
The actual compositions of the Beatles are dealt with in only general terms. The only songs that get mentioned are "She Loves You," because of the cheery "yeah, yeah, yeah" part, Hello Goodbye" because there is a photo of them performing it, and the 40-second final piano chord of "A Day in the Life" from the "Sgt. Pepper's Lonely Hearts Club Band" album. Venezia does provide some basic music appreciation lessons talking about the Beatles experimentation with different kinds of instruments, bringing in musicians from symphony orchestras, and such. However, this is no substitute for actually listening to the group's music. Of course, once you start talking about great Beatles songs, where do you stop?
The biographical sections on the early years of the four Beatles and their early days trying to make a name for themselves will prove of most interest to young readers. My only real complains about this volume would be that it really does not talk about the impact the Beatles had on popular culture, which was immense, and that except for the difference in Ringo's nose you cannot tell the Fab Four apart in Venezia's cartoons. I was sort of looking forward to better caricatures than this, to be honest.
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Petrushka: Sources and Contexts
Manufacturer: Northwestern University Press
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Petrushka in Full Score, Original Version
ASIN: 0810115662 |
Book Description
This impressive volume brings together three major twentieth-century chamber works: Berg's String Quartet No. 1, Op. 3; Stravinsky's Three Pieces for String Quartet; and Webern's Five Movements for String Quartet. Reprinted from authoritative sources, these works reflect the influence of Arnold Schoenberg and the musical sea changes of the early decades of the twentieth century.
Book Description
While many hundred thousands of pages have been written about Stravinsky, in this book-the composer's first-we hear from the man himself. An Autobiography chronicles the first half-century of Stravinsky's life, all the while offering his opinions and "abhorrences." A Parsifal performance at Bayreuth? "At the end of a quarter of an hour I could bear no more." Nijinsky? "The poor boy knew nothing of music." Spanish folk music? "Endless preliminary chords of guitar playing."
Customer Reviews:
What a delightful way for any music lover to learn about the first half of Stravinsky's great career........2006-01-06
It is always interesting when a great artist communicates with us about their life and art. However, like most of us, they tend to try and put events and ideas in the best possible light. So, it is for later scholars to come along, dig deeper, and get things right. And the history of artists talking about art has proven that what they say about what they do is seldom as useful as the work itself. As Hemingway noted in "Death in the Afternoon", it is always a mistake to meet the author.
And yet it is often most interesting. Stravinsky wrote this in 1934 when he was in his early fifties. The book covers the his life from his childhood to that time and his compositions through the Duo Concertant, Concerto for Violin, and Persephone. Of course, he could not have expected all the music and the direction still in his future. His Symphony in C, the Symphony in Three Movements, The Rake's Progress, and so much more through the Requiem Canticles were all in the future. Who could have expected the horrors of the Second World War at that time? So, it is an interesting document from that point of view because of the way that time was viewed as the context for the past. Nowadays, we would reconstruct everything differently because of what we know of those subsequent years.
Not only is it most useful to know the way his compositions came about (to the extent these anecdotes are accurate), but his views on Beethoven, composition, executants versus interpreters, musical form, and the great artistic personalities he met and knew and worked with along the way. Now, in order to understand Stravinsky's comments about music's inability to communicate anything we have to keep in mind the times. Remember, this was the time when the public lived for Wagner's lietmotive and Richard Strauss's "Ein Heldenleben" (A Hero's Life) and the autobiographical "Symphonia domestica" in which he tried to use music to communicate events from daily life. This was not the art Stravinsky was interested in. And because his music was so different than the nineteenth century musical traditions, it is understandable that his views of how his music should be played free of that tradition make a great deal of sense. His music is much more familiar to us than to his contemporaries, however his rather strident comments about merely executing his music and recreating his recordings is still a cause for great debate in musical circles. Myself, I think we can be informed by his comments and the recordings, and they should carry a great deal of weight, but music requires artistry not merely craftsmanship in the hands of its "executants". Stravinsky's views on the false notion of making Art a substitute for religion are most interesting. He also has a compelling argument why one cannot treat religion and faith critically (as in intellectual analysis) because criticism involves rejection of this or that and that is not faith.
This is a very interesting book and has great historical importance. However, it is also an interesting read for the general music lover. It is a great way to get some context for the first half of Stravinsky's very wonderful and important career.
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