Igor Stravinsky

Biography

Born: Jun 17, 1882; Russia   Died: Apr 6, 1971; USA   Period: 20th Century
Igor Stravinsky was one of music's truly epochal innovators; no other composer of the twentieth century exerted such a pervasive influence or dominated his art in the way that Stravinsky did during his seven-decade musical career. Aside from purely technical considerations such as rhythm and harmony, the most important hallmark of Stravinsky's style is, indeed, its changing face. Emerging from the spirit of late Russian nationalism and ending his Read more career with a thorny, individual language steeped in twelve-tone principles, Stravinsky assumed a number of aesthetic guises throughout the course of his development while always retaining a distinctive, essential identity.
Although he was the son of one of the Mariinsky Theater's principal basses and a talented amateur pianist, Stravinsky had no more musical training than that of any other Russian upper-class child. He entered law school, but also began private composition and orchestration studies with Nicolai Rimsky-Korsakov. By 1909, the orchestral works Scherzo fantastique and Fireworks had impressed Sergei Diaghilev enough for him to ask Stravinsky to orchestrate, and subsequently compose, ballets for his company. Stravinsky's triad of early ballets -- The Firebird (1909-1910), Petrushka (1910-1911), and most importantly, The Rite of Spring (1911-1913) -- did more to establish his reputation than any of his other works; indeed, the riot which followed the premiere of The Rite is one of the most notorious events in music history.
Stravinsky and his family spent the war years in Switzerland, returning to France in 1920. His jazz-inflected essays of the 1910s and 1920s -- notably, Ragtime (1918) and The Soldier's Tale (1918) -- gave way to one of the composer's most influential aesthetic turns. The neo-Classical tautness of works as diverse as the ballet Pulcinella (1919-1920), the Symphony of Psalms (1930) and, decades later, the opera The Rake's Progress (1948-1951) made a widespread impact and had an especial influence upon the fledgling school of American composers that looked to Stravinsky as its primary model. He had begun touring as a conductor and pianist, generally performing his own works. In the 1930s, he toured the Americas and wrote several pieces fulfilling American commissions, including the Concerto in E flat, "Dumbarton Oaks."
After the deaths of his daughter, his wife, and his mother within a period of less than a year, Stravinsky emmigrated to America, settling in California with his second wife in 1940. His works between 1940 and 1950 show a mixture of styles, but still seem centered on Russian or French traditions. Stravinsky's cultural perspective was changed after Robert Craft became his musical assistant, handling rehearsals for Stravinsky, traveling with him, and later, co-authoring his memoirs. Craft is credited with helping Stravinsky accept 12-tone composition as one of the tools of his trade. Characteristically, though, he made novel use of such principles in his own music, producing works in a highly original vein: Movements (1958-1959) for piano and orchestra, Variations: Aldous Huxley in Memoriam (1963), and the Requiem Canticles (1965-1966) are among the most striking. Craft prepared the musicians for the exemplary series of Columbia Records LPs Stravinsky conducted through the stereo era, covering virtually all his significant works. Despite declining health in his last years, Stravinsky continued to compose until just before his death in April 1971. Read less

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Biography

Born: Jun 17, 1882; Russia   Died: Apr 6, 1971; USA   Period: 20th Century
Igor Stravinsky was one of music's truly epochal innovators; no other composer of the twentieth century exerted such a pervasive influence or dominated his art in the way that Stravinsky did during his seven-decade musical career. Aside from purely technical considerations such as rhythm and harmony, the most important hallmark of Stravinsky's style is, indeed, its changing face. Emerging from the spirit of late Russian nationalism and ending his Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
I. Toccata
II. Aria I
III. Aria II
IV. Capriccio
Scene 1: Prologue: A Storm
Scene 2: A Village Fete
Scene 3: By the Mill
Scene 3: Pas de deux: II. Adagio
Scene 3: Pas de deux: III. Variation - IV. Coda
No. 1. Danse: Con moto
No. 2. Excentrique: Moderato
No. 3. Cantique: Largo
No. 4. Madrid: Allegro con moto
I. Vivace
II. Arioso
III. Rondo
I. Sinfonia: Allegro moderato
II. Serenata: Larghetto
III. Scherzino - Allegro - Andantino
IV. Tarantella
V. Toccata
VI. Gavotta - Variation No. 1 - Variation no. 2
VII. Vivo
VIIIa. Minuetto - Molto moderato
VIIIb. Finale: Allegro assai
Tableau I: Prologue: The Birth of Apollo
Tableau II: Apollo's Variation
Tableau II: Pas d'action: Apollo and the Muses
Tableau II: Variation of Calliope
Tableau II: Variation of Polymnia
Tableau II: Variation of Terpsichore
Tableau II: Variation of Apollo
Tableau II: Pas de deux: Apollo and Terpsichore
Tableau II: Coda: Apollo and the Muses
Tableau II: Apotheosis: Apollo and the Muses
Prologue
Introducing Creon
Introducing Tiresias
Introducing Focasta
Introducing the Messenger
Epilogue
I. Presto
II. Andante rapsodico
III. Allegro capriccioso ma sempre giusto
Premiere donne (First Deal)
Deuxieme donne (Second Deal)
Troisieme donne (Third Deal)
I. Overture: Allegro
II. Andante
III. Con moto
Suite No. 1 for Small Orchestra: I. Andante
II. Napolitana
III. Espanola
IV. Balalaika
Preludium for Jazz Band
Pastorale: Chant sans paroles
Ragtime for Eleven Instruments
Ragtime for Eleven Instruments
I. Moderato alla breve
I. Moderato alla breve
II. Larghetto concertante
II. Larghetto concertante
I. On Saints' Days in Chigisakh
I. On Saints' Days in Chigisakh
Tango
Tango
Concertino for Twelve Instruments
Concertino for Twelve Instruments
I. Allegro moderato
I. Allegro moderato
I. Sinfonia: Ouverture
I. Sinfonia: Ouverture
II. Serenata
II. Serenata
IIIa. Scherzino
IIIa. Scherzino
The Shrove-tide Fair
The Shrove-tide Fair
The Crowds
The Crowds
The Charlatan's Booth
The Charlatan's Booth
The Russian Dance
The Russian Dance
Petrouchka's Room
Grand Carnival
Dance of the Wet Nurses
Dance of the Peasant and Bear
Dance of the Gypsy Girls
Dance of the Coachmen
Ave Maria
Credo
Pater Noster
Chorale
Variation I (In canone all'Ottava)
Variation II (Alio modo canone alla Quinta)
Variation III (In canone alla Settima)
Variation IV (In canone all' Ottava per augmentationem)
Variation V (L'altra sorte del canone al rovescio)
Dance of the Coachmen
The Masqueraders
Septet: I. quarter note = 88
II. Passacaglia
III. Gigue
Ebony Concerto: I. Allegro moderato
II. Andante
III. Moderato; Con moto
I. Toccata
II. Aria I
III. Aria II
IV. Capriccio
I. Overture. Allegro
II. Andante - Interlude: L'istesso tempo
III. Con moto
Symphony in C: I. Moderato alla breve
II. Larghetto concertante
III. Allegretto
IV. Largo - Tempo giusto, alla breve
Symphony of Psalms (Rev, version, 1948): Part I
Part II
Part III
First Scene - I. The Shrove-tide Fair
II. The Crowds
III. The Charlatan's Booth
IV. The Russian Dance
Second Scene - Petroushka's Room
Third Scene - I. The Moor's Room
II. Dance of the Ballerina
III. Waltz
Fourth Scene - I. Grand Carnival
II. Dance of the Wet Nurses
III. Dance of the Peasant and Bear
IV. Dance of the Gypsy Girls
V. The Dance of the Coachmen
VI. The Masqueraders
VII. Conclusion (Petroushka's Death)
Le Sacre du Printemps (The Rite of Spring): Part One: The Adoration of the Earth - Introduction
Auguries of Spring (Dances of the Young Girls)
Mock Abduction
Spring Khorovod (Round Dance)
Games of the Rival Clans
Procession of the Wise Elder
Adoration of the Earth (The Wise Elder)
Dance of the Earth
Part Two: The Sacrifice - Introduction
Mystical Circles of the Young Girls
Glorification of the Chosen One
The Summoning of the Ancients
Ritual of the Ancients
Sacrificial Dance (The Chosen Victim)


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