Реферат: Continuity and change in Stravinskiy`s ballets. Стравинский и его балеты

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<span Times New Roman",«serif»;color:red">Continuity and changein Stravinskiy`s ballets.

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Written by: A. Bogdanov

Penglais school

2005

Music to me is a powerwhich justifies things.

(I. Stravinskiy)

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US">Stravinskiy Igor Fyodorovich, the famousRussian composer of 20-th century was born in small village 17thJune of 1882. His father was a famous exponent of the leading bass parts at theSt. Petersburg`s Opera and the young Igor thus became familiar at the early agewith the works of such Russian composers as Musorgskiy, Glinka, Dargomyzhskiy.

<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US">One of the fellow-students, was theyoungest son of Rimskiy-Korsakov,  whointroduced Stravinskiy to his father. From then until his death in 1908Rimskiy-Korsakov played an important part in Stravinskiy`s early musicalformation.

<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US">At the age of twenty-seven Stravinskiy wasalready famous, his first performance in Paris, on 25 June 1910, of his ballet“The Fire-bird”, produced by Dyagilev and Russian ballet, established himfirmly in the eyes of the international musical world as a composer of geniuswith a big future before him.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US">Stravinskiy throughout his career refusedto go on repeating himself. With inexhaustible avidity he tackled new problemsand pressed for new solutions. It happened more than once that a phase of hiscareer seemed to move in the opposite direction from the one before. Inretrospect, however, his various periods emerge as necessary stages in a continuous evolution toward greater purityof style and abstraction of thought.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US">Stravinskiy began his compositional lifeas an exponent of the Russian National school. “The Fire-bird” displays all theshimmer of Rimskiy-Korsakov`s orchestra along with influences of FrenchImpressionism). Here, as in the works that followed, Stravinskiy worked withinthe frame of Russian folklore,drawing sustence from popular songs and dance. All the same, from the beginninghe was aligned with those forces in Russian culture that were oriented towardthe West – especially those that were receptive to clarity and grace. Hetherefore was free to move toward the universal values that underlie theclassical outlook.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US">“The Fire-bird” was written in 1910. Inhis firstwork for stage Sravinskiy followed his master Rimskiy-Korsakov and didchoose a Russian fairy-tale as the subject of his ballet. He shows hisacquaintance with contemporary French music very clearly, using irregularostinato rhythms. To create this story Stravinskiy used sections from anearlier work — the opening of “Fireworks”, with its resolute diatonic motifs. In“The Fire-bird” hero prince takes a folksong path to catch the Fire-bird, asthe bird moves between tonalities and orchestral groupings in her rapid,melodic+rhythmic patterns patterns.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US">In introduction to “The Fire-bord”Stravinskiy uses bass drum, cellos and double basses to set the dark,mysterious atmosphere of Kashchey`s garden, darting, rhytmic phrases forwoowind. The piece ends with distant horn calls, and a ripple of notes from thepiano.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US">Dance of the firebird is made up ofglittering flashes of sound for woodwind and piano. Later on there areintricate rhytmic patterns for the strings, and colourful splashes of soundfrom the brass. Flourishes for piccolo and piano give the impression of swift,darting movements.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US">In horovod — round dance — flutes play acanon – one flute starts with the tune, and second flute continue later withthe same tune.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US">The internal dance of king Kashchey isshown by vivid orchestral colours and syncopated rhytms, that mirror thetwisting, darting movements of the evil magician. A shrieking chord for fullorchestra – and a persistent rhytm begins on the kettle-drum, palyed withwooden sticks. The main theme is played with brass instruments.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US">In the finale, Stravinskiy uses anotherRussian folk song indicating that he was a nationalist composerof this time. Itis played in turn by horn, violins, atrings and woodwind, and full orchestra.This section illustrates Stravinskiy`s mastery of orchestration.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US;layout-grid-mode:line">A year separating«Petrushka» (1911) and «The Fire-bird», is a significantdistance for a quickly ripening phenomenal talent of composer. While «TheFire-bird» still carries sounds of the past, «Petrushka» looksin the future. Everything here is new: folklore and new orchestra, newpolythonality… But the main feature is the magic of connection of differentgenre and semantic elements: a romantic history and a folklore direction,Russian national theatre doll Petrushka and characters of Italian«comedies of masks». The world of the people and world of dollscoexist in Stravinskiy`s ballet.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US;layout-grid-mode:line">Petrushka wascomissioned by Dyagilev. It is one of the composer`s most completely successfuland perfectly integrated creations.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US">The simultaneous use of two keys(bitonality) and of several (polytonality) is one of the Stravinskiy`s musicfeatures (and it is found in “Petrushka”). The mainspring of Stravinskiy`s artis rhythm. He was a leader in the revitalization of European rhythm. It issignificant that his first great success was won in the field of ballet, whererhythm is allied to dynamic body movement and expressive gesture.

<img src="/cache/referats/20854/image004.jpg" align=«left» hspace=«12» v:shapes="_x0000_s1027"><span Arial",«sans-serif»; mso-bidi-font-family:«Times New Roman»;color:black;mso-ansi-language:EN-US; layout-grid-mode:line">

<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US;layout-grid-mode:line">In “Petrushka”Stravinskiy used one famous chord associated with the luckless hero of ballet.It is the kernel out of which the work grew: a C-major arpeggio superposed uponone in F-sharp major: this is an example of bitonality.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US;layout-grid-mode:line">In “Petrushka” weencounter the laconic melodies, resilient rhythms, and orchestral brightnessthat are composer`s very own. One of the most original scores of the century,this is the best loved of the Stravinskiy`s works for the theatre.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US;layout-grid-mode:line">In one section anorgan-grinder joins the gathering accompanied by his lady dancer who pirouettesto the strains of a merry tune played on the barrel organ. While he was workingon the score of “Petrushka” Stravinskiy had actually heard this tune played ona barrel-organ.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US;layout-grid-mode:line">The brilliant andimaginative orchestration, rhythmic and harmonic innovations combine to make“Petrushka” a masterpiece which is moreover a landmark in the development ofRussian music.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US;layout-grid-mode:line">The premiere of “TheRite of Spring”, May 29, 1913, held in Paris, was very controversial. Since thefirst minutes of performance such extreme noise has risen, that dancers did nothear an orchestra. The “Rite” opens with a solo bassoon playing a themeoriginally from Lithuania, though it is reminiscent of some of the rhapsodicthemes of the Carpathian shepherds, or of a Tibetian tune. These astringentsounds take us back suddenly a prehistoric world.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US;layout-grid-mode:line">This ballet setsforth a new musical language based on the percussive use of dissonance,polyrhythms and polythonality.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US;layout-grid-mode:line">Dissonant chords inthe dark register of the strings exemplify Stravinskiy`s “elemental pounding”,their percussive quality is heightened by the use of polytonal harmonies.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US;layout-grid-mode:line">The dominance ofpulse, which is of course the most conspicuously revolutionary feature of “TheRite”, is equally obviously the main sourse of its primitivism – this musicrestored to its condition before European civilisation. Such things as theomnipresent ostinato of the “Dances of the young girls” are the rudiments ofRussian folksong released into separate being, things more primitive than whatis already a primitive stock. The effect produced is truly brilliant, it soundsbeutiful and fresh.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US;layout-grid-mode:line">In his music, as inlife, Stravinskiy was quick to respond to changes, and new developments wereassimilated into his music freely. Stravinskiy`s later music was very varied.

During the war, when Stravinkiy was already outside Russia, hecontinued to compose. In his creativity the products of the small forms withuse of folklore motives prevailed. In 1914 he began work on his “The Wedding”and only in 1923 has finished it. “The Wedding” was a sort of choreographiccantata descriptive of a Russian peasant wedding. In 1918 was written «AHistory of the soldier », in which are used the recitation, pantomime anddances. Both these works are written for much smaller orchestras or ensemblesindicating Stravinskiy`s move to the Neo classical style.

In 1918 Stravinsky produces “Thehistory of the Soldier”. Though it was written at the period when the composerhad severed connexion with his native country and was living in Switzerland, itstill belongs in style to his “Russian” period and it text is taken fromRussian folk-tale. The story, telling of a soldier, is apoken by a narrator,while the action is mimed and danced. Tunes in this ballet are diatonic andrelated to European art music. So, the tune of Royal March is combined ofsnippets of early 19-th century Italian opera ans Spanish figurations. Beforehis final dance the devil sings his triumph in a chorale. This looks like aparody of a Bach chorale, but Bach`s chorale is an equation between melody andharmony, while Stravinskiy`s piece there are few chords that could not be foundin Bach.

The style of the Baroque Concerto Grosso can also be found in“Pucinella” when the strings divide into two groups and there is contrastbetween loud and soft. Stravinskiy does not use percussion in this ballet butthe rhythmic impulse of the music is still strong.

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In 1919 Dyagilev invited thecomposer to create a ballet based upon Pulcinella – the traditional hero ofmany Italian comedies, the same as a Petrushka in Russia. Dyagilev suggestedthat music should be based on tunes by the Italian composer Pergolesi of the18-th century. Stravinskiy said: ”the remarkable thing about “Pulcinella” isnot how much but how little was added or changed”.

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<span Arial",«sans-serif»; mso-bidi-font-family:«Times New Roman»;color:black;mso-ansi-language:EN-US; layout-grid-mode:line">Nearly half of “Pulcinella” is made up from triosonatas, the rest comes from keyboard pieces, orchestral movements and arias.

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<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US;layout-grid-mode:line">“Apollo Musagetes”(1927-1028) was a ballet designed to last half an hour. The costumes are allwhite and the music reflects the rather aushere neo classicism that Stravinskiywas adopting at this time.

<span Arial",«sans-serif»;mso-bidi-font-family:«Times New Roman»; color:black;mso-ansi-language:EN-US;layout-grid-mode:line">Stravinskiy`s musicis nearly always art to the second degree, art about art. In the absence of awider social context Stravinskiy chose Western culture itself ­‑ not inhis historical sense but as a contemporary phenomenon – as his subject matter.In so going he could not help expressing the crisis of traditional culture everas he defined a musical sensibility that is still very much part of ourcontemporary awareness.

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