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Updated: May 11, 2025
When we played the Stravinsky pieces here, for instance, his Pétrouschka and Firebird had not yet been heard. "We try, as an organization, to be absolutely catholic in taste. Nor do we neglect the older music, because we play so much of the new. This year we are devoting special attention to the American composers.
Challenging assumptions "I have learned throughout my life as a composer chiefly through my mistakes and pursuits of false assumptions, not by my exposure to founts of wisdom and knowledge." Igor Stravinsky "And there's something else about this movement business," Justin began, still sitting on the floor and leaning back against a dry portion of the couch. "Where did Cecil go?"
On music, however, and literature its influence has been great, and here its triumphs are considerable. It is easy to say that the genius of Stravinsky a musician, unless I mistake, of the first order and in the great line rises superior to movements. To be sure it does: so does the genius of Molière.
Richard Strauss's violin concerto can really be played by the violinist. The obbligatos in his symphonies are a very different matter; they go beyond accepted technical boundaries. With Stravinsky it is the same. The violin obbligato in Rimsky-Korsakov's Schéhérazade, though, is real violin music.
What matters, however, are not theories, but works: so what of the works of Jazz? If Stravinsky is to be claimed for the movement, Jazz has its master: it has also its petits maîtres Eliot, Cendrars, Picabia, and Joyce, for instance, and les six. All five have their places in contemporary civilization: and such talents are not to be disposed of simply by the present of a bad name.
It is to be noted that Nellie Melba and Amelita Galli-Curci are absolutely unfitted to sing in music dramas even so early as those of Richard Wagner; Dukas, Strauss, and Stravinsky are utterly beyond them. Even Adelina Patti and Marcella Sembrich appeared in few, if any, new works of importance. They had no bearing on the march of musical history.
At a performance of Madama Butterfly a Japanese once asked why the singers were producing those nice round tones in moments of passion; why not ugly sounds? Will any composer arise with the courage to write an opera which cannot be sung? Stravinsky almost did this in The Nightingale but the break must be more complete.
But just as the genius of Molière found its appropriate food in one kind of civilization, so does the genius of Stravinsky in another; and with that civilization his art must inevitably be associated. Technically, too, he has been influenced much by nigger rhythms and nigger methods. He has composed ragtimes.
That gift of his had surprised her. One day in the studio, when Garstin had finished painting, and they had lingered smoking and talking, the conversation had turned on music, and Garstin, who had some knowledge of all the arts, had spoken about Stravinsky, whom he knew, and whose music he professed to understand.
I mention only the names of those composers with whose music I am fairly familiar. Probably Stravinsky and his musical fireworks will be called a Futurist, whatever that portentous title may mean. However, the music of Tschaikovsky, Rimsky-Korsakof, Rachmaninof, and the others is no longer revolutionary, but may be considered as evolutionary.
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