Igor Stravinskij bol ruský skladateľ, klavirista a dirigent, považovaný za jedného z najvýznamnejších a najvplyvnejších skladateľov 20. storočia. Jeho dielo je kozmopolitné a ovplyvnilo hudobný svet. Napriek uznaniu za svoje kompozície sa preslávil aj ako klavirista a dirigent. Vo svojej autobiografii vyjadril názor, že hudba zo svojej podstaty nedokáže nič vyjadriť.
Prvá časť knihy prináša Stravinského prednášky o fenoménie hudby, komponovaní a interpretácii, druhú časť tvoria jeho spomienky na detstvo a mladosť, vlastný umelecký vývoj a tvorbu. Súčasťou knihy je i kompletný zoznam Stravinského diel.
Život a názory významného skladatele. Autobiografická publikace z poloviny 30. let 20. století.
Petruška, hadrový panáček, hraje v loutkovém divadle na jarmarce v Petrohradě podle záměru nehodného loutkáře úlohu šaška pro zábavu publika, ačkoli se mu líbí balerína Holubička, jež tančí s Mouřenínem. Petruškova vzpoura proti tomuto osudu končí jeho smrtí. Ale umírá jen jeho hadrové tělo a jeho duch jako symbol odporu proti zvůli a násilí žije dál.
This collection showcases 14 piano pieces by Igor Stravinsky, catering to both intermediate and advanced pianists. It features a variety of works, including "Chant du Rossignol," "Four Etudes," and "Sonata," alongside pieces inspired by other composers, like "Fragment des symphonies pour instruments a vent a la memoire de Achille-Claude Debussy." The anthology encompasses diverse styles, from the playful "Piano Rag-Music" to the evocative "Trois mouvements de Petrouchka," making it a versatile addition to any pianist's repertoire.
The collection features three significant works by Stravinsky, showcasing his innovative style. The Pulcinella Suite, revised in 1949, offers a playful reinterpretation of classical themes. Apollon Musagete, revised in 1947, reflects a neoclassical elegance and explores the theme of beauty. Le Baiser de la Fee, revised in 1950, combines lyrical melodies with rich orchestration, creating a captivating narrative. These revisions highlight Stravinsky's evolving artistry and contribute to his legacy in the music world.
One of the greatest of contemporary composers has here set down in delightfully personal fashion his general ideas about music and some accounts of his own experience as a composer. Every concert-goer and lover of music will take keen pleasure in his notes about the essential features of music, the process of musical composition, inspiration, musical types, and musical execution. Throughout the volume are to he found trenchant comments on such subjects as Wagnerism, the operas of Verdi, musical taste, musical snobbery, the influence of political ideas on Russian music under the Soviets, musical improvisation as opposed to musical construction, the nature of melody, and the function of the critic of music. Musical people of every sort will welcome this first presentation in English of an unusually interesting book.
The autobiography explores the first fifty years of Stravinsky's life, revealing his candid opinions and strong dislikes on various subjects. He expresses disdain for a Parsifal performance at Bayreuth, critiques Nijinsky's musical knowledge, and finds Spanish folk music tedious. Through these reflections, the book provides insight into Stravinsky's personality and his views on art and culture, showcasing his unique perspective as a prominent composer.
