Jonathan Cross - The Cambridge Companion to Stravinsky

The Cambridge Companion to Stravinsky

Stravinskys work spanned the major part of the twentieth century and engaged with nearly all its principal compositional developments. This Companion reflects the breadth of Stravinskys achievement and influence in essays by leading international scholars on a wide range of topics. It is divided into three parts dealing with the contexts within which Stravinsky worked (Russian, modernist and compositional), with his key compositions (Russian, neoclassical and serial) and with the reception of his ideas (through performance, analysis and criticism). The volume concludes with an interview with the leading Dutch composer Louis Andriessen and a major re-evaluation of Stravinsky and us by Richard Taruskin.

JONATHAN CROSS is University Lecturer in Music and Tutorial Fellow of Christ Church, Oxford. He is author of The Stravinsky Legacy (Cambridge, 1998) and Harrison Birtwistle: Man, Mind, Music (London, 2000), and is Editor of the journal Music Analysis.

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The Cambridge Companion to

STRAVINSKY

.................

EDITED BY

Jonathan Cross

CAMBRIDGE UNIVERSITY PRESS

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Published in the United States of America by Cambridge University Press, New York

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Information on this title: www.cambridge.org/9780521663304

Cambridge University Press 2003

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

First published 2003

Reprinted 2005

A catalogue record for this publication is available from the British Library

ISBN 978-0-521-66330-4 hardback

ISBN 978-0-521-66377-9 paperback

Transferred to digital printing 2008

Contents

Rosamund Bartlett

Christopher Butler

Arnold Whittall

Anthony Pople

Kenneth Gloag

Martha M. Hyde

Jonathan Cross

Joseph N. Straus

Nicholas Cook

Max Paddison

Craig Ayrey

Stuart Campbell

Louis Andriessen and Jonathan Cross

Richard Taruskin

Contributors

Louis Andriessen is one of the most distinguished living Dutch composers. He teaches composition at the Koninklijk Conservatorium Den Haag.

Craig Ayrey is Lecturer in Music Theory and Analysis at Goldsmiths College, University of London.

Rosamund Bartlett is Lecturer in Russian and Music History at the University of Durham.

Christopher Butler is Professor of English at the University of Oxford and Tutorial Fellow of Christ Church.

Stuart Campbell is Honorary Senior Research Fellow in the Institute of Central and Eastern European Studies and the Department of Music at the University of Glasgow.

Nicholas Cook is Research Professor in Music at the University of Southampton.

Jonathan Cross is University Lecturer in Music and Tutorial Fellow of Christ Church, Oxford.

Kenneth Gloag is Lecturer in Music at Cardiff University.

Anthony Gritten is Lecturer in Music at the University of East Anglia.

Martha M. Hyde is Professor of Music at the State University of New York at Buffalo.

Max Paddision is Professor of Music at the University of Durham.

Anthony Pople is Professor of Music at the University of Nottingham.

Joseph N. Straus is Professor of Music at Queens College and the Graduate Center, City University of New York.

Richard Taruskin is Professor of Music at the University of California at Berkeley.

Arnold Whittall is Professor Emeritus of Music Theory and Analysis at Kings College London.

ANTHONY GRITTEN

Chronology of Stravinskys life and works

Notes:

1 Works are listed in the year of their completion.

2 Dates of premieres are of the first public complete performance of the principal version of the work.

Preface and acknowledgements

Born in the nineteenth century, Stravinsky became one of the dominant creative figures of the twentieth, and his influence is still strongly felt into the twenty-first. The contributions to this volume reflect the range of Stravinskys impact on many aspects of current musical and musicological life. They offer a broad spectrum of historical, critical and interpretative approaches to the composer and his music: Stravinsky the Russian, the modernist, the neoclassicist, the serialist, the dramatist. The chapters also look at the fascinating ways in which Stravinsky and his ideas have been received by performers, critics, analysts and composers. The final chapter proposes that the twentieth century was indeed Stravinskys century and that a Stravinskian attitude pervades much recent musical thought and practice.