#Petroushka

[paul-archibald]

Igor Stravinsky (1882-1971) Russian Period

Igor Stravinsky was born in 1882  near St. Petersburg, Russia and died in 1971, in New York.  He is one of the most important and influential composers of the 20th century and a pivotal figure in modernist music. His compositions had a revolutionary impact on musical thought just before and after World War I, and he remained a cornerstone of modernism for much of his long working life.  Scherzo…

[legobiwan]

The use of the octatonic scale here is driving me insane, if for no other reason than that I want to know why this scale in particular was chosen, because it is a deliberate decision. (I have a whole post ready to go with some bat-shit music theory (over)analysis that I may or may not put up later today).

[sixty-silver-wishes]

sorry for like, sending multiple asks within a relatively short time period but could you perchance tell me about wozzeck (anything, story, scoring, etc.)? i was looking at a list of excerpts for an audition and wozzeck was on there

also is it brass-heavy? bc these were trumpet excerpts and most of the other pieces had really heavy brass lines like die walküre, petroushka, and west side story

thanks!

oh I love wozzeck! basically, it’s the story of the entire world weighing on this one guy’s shoulders until he snaps.

so, wozzeck gets no respect. he’s poor, and the play opens with this military captain who keeps mocking his morality for being “indecent.” wozzeck lives with his wife marie and their son, and it’s probably implied the marriage has been falling apart for a while. he has a friend, andres, but he’s overly optimistic and dismissive of wozzeck’s mental issues, especially when wozzeck tells him he’s having visions of severed heads rolling around in the woods. which is. yk. not a good sign

because he’s so poor, in order to make money, wozzeck consents to be involved in experiments carried out by a doctor, who is messing with his diet in order to impact his sanity, and is essentially just doing this because he wants recognition in the scientific community. marie begins an affair with a drum major, and the captain taunts wozzeck for it. wozzeck finds out and is enraged, and later on, after marie prays for forgiveness, wozzeck murders her with a knife. he goes completely mad and ends up drowning himself in the swamp, leaving the child- now an orphan- to numbly play with his hobby horse in an extremely chilling conclusion.

the score is pretty brass heavy, and the singing is often characterized by sprechgesang (speech-singing), where the dialogue is conveyed through musically-pitched speaking. my favorite musical moments are probably the tavern scene- which is very mahlerian- and marie’s murder. you also get some 12 tone stuff at the scene in the doctor’s office, which is pretty cool.

[werewolvesandaccordions]

Shostakovich – Symphony no. 1 in f minor Written for his graduation ceremony at the Petrograd Conservatory, and I think that is extra fitting because this work, his introduction into the symphony genre [and ergo “serious” composing in the classical world] is a cumulation of repurposing older juvenilia into a substantial piece inspired by the great composers of his time. Alexander Glazunov was his teacher, and he too had a successful premiere of his first symphony in his teen years at Petrograd Hall. Even though he was in Conservatory since he was 13, the school was biased against contemporary and “new” music, so he didn’t hear the likes of Stravinsky and Prokofiev until his later teens, the music from both left a deep impression in this work, especially the opening two movements. While the work was written as a compositional exercise in class, Shostakovich’s grandmother recognized a good handful of the theme from his childhood, where he would play around on the piano. That music was associated with the Aesop Fable of the Ant and the Grasshopper, and Hans Christian Andersen’s The Little Mermaid. The work can be divided in half, with the first two movements giving off a playful, sarcastic, and almost theatrical flair, reminiscent of Stravinsky’s Petroushka. The last two movements, which play without pause, are much darker, with more pathos and a weight of tragedy. Part of the current trend of artistic expression was the Modernist view that humans were simply machines bound by biological wants and needs, without true free will beyond that. I’d like to put forward that this symphony is reflecting a trope in Ancient Greek philosophy, that of the laughing philosopher and the weeping philosopher. Two philosophers, Democritus and Heraclitus, are watching a play. Democritus is brought to laughter, while Heraclitus is brought to tears. Two ways to view absurdism and the human condition, the first half of the symphony laughs at the absurdity, the second half weeps. In these simple gestures, the young Shostakovich shows that he is a force to be reckoned with, and has much to say in the upcoming years. Movements: 1. Allegretto 2. Allegro 3. Lento 4. Allegro molto

mikrokosmos: Shostakovich – Symphony no. 1 in f minor Written for his graduation ceremony at the Petrograd Conservatory, and I think that is extra fitting because this work, his introduction into the symphony genre [and ergo “serious” composing in the classical world] is a cumulation of repurposing older juvenilia into a substantial piece inspired by the…

[tinas-art]

Shostakovich – Symphony no. 1 in f minor Written for his graduation ceremony at the Petrograd Conservatory, and I think that is extra fitting because this work, his introduction into the symphony genre [and ergo “serious” composing in the classical world] is a cumulation of repurposing older juvenilia into a substantial piece inspired by the great composers of his time. Alexander Glazunov was his teacher, and he too had a successful premiere of his first symphony in his teen years at Petrograd Hall. Even though he was in Conservatory since he was 13, the school was biased against contemporary and “new” music, so he didn’t hear the likes of Stravinsky and Prokofiev until his later teens, the music from both left a deep impression in this work, especially the opening two movements. While the work was written as a compositional exercise in class, Shostakovich’s grandmother recognized a good handful of the theme from his childhood, where he would play around on the piano. That music was associated with the Aesop Fable of the Ant and the Grasshopper, and Hans Christian Andersen’s The Little Mermaid. The work can be divided in half, with the first two movements giving off a playful, sarcastic, and almost theatrical flair, reminiscent of Stravinsky’s Petroushka. The last two movements, which play without pause, are much darker, with more pathos and a weight of tragedy. Part of the current trend of artistic expression was the Modernist view that humans were simply machines bound by biological wants and needs, without true free will beyond that. I’d like to put forward that this symphony is reflecting a trope in Ancient Greek philosophy, that of the laughing philosopher and the weeping philosopher. Two philosophers, Democritus and Heraclitus, are watching a play. Democritus is brought to laughter, while Heraclitus is brought to tears. Two ways to view absurdism and the human condition, the first half of the symphony laughs at the absurdity, the second half weeps. In these simple gestures, the young Shostakovich shows that he is a force to be reckoned with, and has much to say in the upcoming years. Movements: 1. Allegretto 2. Allegro 3. Lento 4. Allegro molto

mikrokosmos: Shostakovich – Symphony no. 1 in f minor Written for his graduation ceremony at the Petrograd Conservatory, and I think that is extra fitting because this work, his introduction into the symphony genre [and ergo “serious” composing in the classical world] is a cumulation of repurposing older juvenilia into a substantial piece inspired by the…

[dariaandjanelanefanboy]

Shostakovich – Symphony no. 1 in f minor Written for his graduation ceremony at the Petrograd Conservatory, and I think that is extra fitting because this work, his introduction into the symphony genre [and ergo “serious” composing in the classical world] is a cumulation of repurposing older juvenilia into a substantial piece inspired by the great composers of his time. Alexander Glazunov was his teacher, and he too had a successful premiere of his first symphony in his teen years at Petrograd Hall. Even though he was in Conservatory since he was 13, the school was biased against contemporary and “new” music, so he didn’t hear the likes of Stravinsky and Prokofiev until his later teens, the music from both left a deep impression in this work, especially the opening two movements. While the work was written as a compositional exercise in class, Shostakovich’s grandmother recognized a good handful of the theme from his childhood, where he would play around on the piano. That music was associated with the Aesop Fable of the Ant and the Grasshopper, and Hans Christian Andersen’s The Little Mermaid. The work can be divided in half, with the first two movements giving off a playful, sarcastic, and almost theatrical flair, reminiscent of Stravinsky’s Petroushka. The last two movements, which play without pause, are much darker, with more pathos and a weight of tragedy. Part of the current trend of artistic expression was the Modernist view that humans were simply machines bound by biological wants and needs, without true free will beyond that. I’d like to put forward that this symphony is reflecting a trope in Ancient Greek philosophy, that of the laughing philosopher and the weeping philosopher. Two philosophers, Democritus and Heraclitus, are watching a play. Democritus is brought to laughter, while Heraclitus is brought to tears. Two ways to view absurdism and the human condition, the first half of the symphony laughs at the absurdity, the second half weeps. In these simple gestures, the young Shostakovich shows that he is a force to be reckoned with, and has much to say in the upcoming years. Movements: 1. Allegretto 2. Allegro 3. Lento 4. Allegro molto

mikrokosmos: Shostakovich – Symphony no. 1 in f minor Written for his graduation ceremony at the Petrograd Conservatory, and I think that is extra fitting because this work, his introduction into the symphony genre [and ergo “serious” composing in the classical world] is a cumulation of repurposing older juvenilia into a substantial piece inspired by the…

[hushilda]

Shostakovich – Symphony no. 1 in f minor Written for his graduation ceremony at the Petrograd Conservatory, and I think that is extra fitting because this work, his introduction into the symphony genre [and ergo “serious” composing in the classical world] is a cumulation of repurposing older juvenilia into a substantial piece inspired by the great composers of his time. Alexander Glazunov was his teacher, and he too had a successful premiere of his first symphony in his teen years at Petrograd Hall. Even though he was in Conservatory since he was 13, the school was biased against contemporary and “new” music, so he didn’t hear the likes of Stravinsky and Prokofiev until his later teens, the music from both left a deep impression in this work, especially the opening two movements. While the work was written as a compositional exercise in class, Shostakovich’s grandmother recognized a good handful of the theme from his childhood, where he would play around on the piano. That music was associated with the Aesop Fable of the Ant and the Grasshopper, and Hans Christian Andersen’s The Little Mermaid. The work can be divided in half, with the first two movements giving off a playful, sarcastic, and almost theatrical flair, reminiscent of Stravinsky’s Petroushka. The last two movements, which play without pause, are much darker, with more pathos and a weight of tragedy. Part of the current trend of artistic expression was the Modernist view that humans were simply machines bound by biological wants and needs, without true free will beyond that. I’d like to put forward that this symphony is reflecting a trope in Ancient Greek philosophy, that of the laughing philosopher and the weeping philosopher. Two philosophers, Democritus and Heraclitus, are watching a play. Democritus is brought to laughter, while Heraclitus is brought to tears. Two ways to view absurdism and the human condition, the first half of the symphony laughs at the absurdity, the second half weeps. In these simple gestures, the young Shostakovich shows that he is a force to be reckoned with, and has much to say in the upcoming years. Movements: 1. Allegretto 2. Allegro 3. Lento 4. Allegro molto

mikrokosmos: Shostakovich – Symphony no. 1 in f minor Written for his graduation ceremony at the Petrograd Conservatory, and I think that is extra fitting because this work, his introduction into the symphony genre [and ergo “serious” composing in the classical world] is a cumulation of repurposing older juvenilia into a substantial piece inspired by the…

[baleboste]

Cette année, Petroushka bourgeonne 4 fois plus que l'année dernière 😍

[zoofitness]

Lmao my face hurts from this rehearsal

[weirdlandtv]

‪Art and images from the 1956 TV special, Petroushka. It was based on the ballet burlesque of the same name by Stravinsky, who himself arranged and conducted the shortened version of his score.

Petroushka is regarded as the first animated TV special.

[taktstockist]

#petroushka #riteofspring #firebird #stravinsky (at ミューザ川崎シンフォニーホール) https://www.instagram.com/p/BoBvUnhHidJEVAjFhgFLV4rOQLsyNqnD66_80w0/?utm_source=ig_tumblr_share&igshid=58grp855qy14

[paul-archibald]

Ghosts

Ghosts and the supernatural have always attracted classical composers. Grieg’s In The Hall of the Mountain King is where a crowd of gnomes and goblins gather before their troll king. Saint-Saens Danse Macabre takes place on Halloween night and death plays a fiddle enticing the skeletons to crawl out of their graves for a dance party. Tchaikovsky (Hamlet), Stravinsky (Petroushka), Schumann…

[famouspuffin]

Dmitry Dmitriev - Petroushka

[barcarole]

Hi! I'd like to see different ballet styles, productions and footage, and was wondering if you had links to some of them! Thank you so much.

French Ballet

Pierre Lacotte Reconstructions

La Sylphide 1972 | 2004

Paquita

Coppelia

Giselle

Rudolf Nureyev

Swan Lake

Sleeping Beauty 2005 |2013

Bayadere

Nutcracker 1989 | 2012

Raymonda

Don Quixote 2002 | 2012 (I, II)

Romeo and Juliet

Cinderella

Bournonville Ballet

La Sylphide: Danish Ballet 

Etudes 1969 (II) | 2005

Flower Festival in Genzano Danish Ballet | POB | Mariinksy | Royal Ballet

Napoli

The Kermesse in Bruges

A Folk Tale

The Bournonville School

Russian Ballet

Marius Petipa revivals (originally premiered/staged at the Paris Opera)

> originally by Jules Perrot

La Esmeralda Mariinksy 1982 - 2012

Giselle Bolshoi: 1956 - 1975 | ABT 1969 - 1977 | La Scala | Mariinsky | ENB

> originally by Arthur Saint-Léon

Coppelia Bolshoi (Burlaka/Ratmansky Reconstruction)

> originally by Joseph Mazilier

Le Corsaire Bolshoi (Burlaka/Ratmansky Reconstruction) | Mariinsky

Marius Petipa

La Bayadere  Mariinksy: 1964 - 1979 - 2014 | Bolshoi (Act III)

Don Quixote Bolshoi (I, II, III, IV) (2011) | Mariinsky | Mikhailovsky | ABT

Swan Lake: Bolshoi 1957 - 1983 - 2015 | Mariinsky 1986 - 2007 | Wiener Staatsoper

Sleeping Beauty Mariinsky 1969 | Bolshoi | ROH

The Nutcracker Mariinsky | Bolshoi

Raymonda Mariinsky | Bolshoi | La Scala (Vikharev Reconstruction)

La Fille du Pharaon (Lacotte Reconstruction)

Soviet Ballets

Romeo and Juliet Mariinsky (Lavrovsky) 1955 - 2013 | Bolshoi (Grigorovich) 1979 -  2013

Cinderella

Flames of Paris

Laurencia

Hamlet

Anyuta

Gayane (Armenia) Bolshoi 1980 | Mariinsky 2014

Shurale

Yuri Grigorovich

The Legend of Love

Spartacus 1970 |1977 | 2008

Ivan the Terrible 1975 | 1977 | 2015

The Stone Flower

English Ballet

Frederick Ashton

Sylvia

La Fille Mal Gardee

Swan Lake

Cinderella

The Dream ROH | ABT

La Valse

Kenneth MacMillan

Manon Danish Ballet | Royal Ballet

Romeo and Juliet

Mayerling

Anastasia

Balanchine - American Ballet

Symphony in C: NYCB | POB 

Jewels: NYCB (Emeralds Diamonds)  | Mariinsky

Stravinsky Violin Concerto

Serenade

Agon

Apollo 1960 |1968 | 1979

Theme and Variations: NYCB

A Midsummer Night’s Dream: NYCB | POB

Vienna Waltzes

Tchaikovsky Pas de Deux NYCB | Royal Ballet

Ballets Russes

Les Sylphides: Bolshoi | ABT | Kirov | Royal Ballet

Scheherezade

L’Apres midi d’une faune

The Firebird: Mariinsky | Bonus

Le Spectre de la Rose: POB

Petroushka: 1976 | 1992 | 2011

Rite of Spring: Joffrey Ballet | Mariinsky

El Sombrero de Tres Picos

Le Train Bleu

Parade

Les Noces: Royal Ballet | Mariinsky

The Prodigal Son

Documentaries

The Romantic Era

Giselle: A Documentary

Diaghilev

Classical Ballet

Agrippina Vaganova: The Great and Terrible

Ballerina: A Documentary in Four Parts

Tout prés des étoiles

The King Who Invented Dance

The Art of Baroque Dance

The Rite of Spring

The Children of Theatre Street

American Masters: Balanchine

Ballet Heroes

Les Enfants de la Danse

Historic Footage

The Art of Russian Ballet (Dudinskaya/Maximova)

Kirov Ballet Gala 1981

First Moscow International Ballet Competition, 1969

Galina Mezentseva

Irina Kolpakova

Ekaterina Maximova/Vladimir Vasiliev

Bolshoi Ballet, 1967

Maya Plisetskaya Dances, 1964

Yvette Chauviré

Anna Pavlova I | II | III | IV | V

Tamara Karsavina I | II | III | IV

[gatheringbones]

cottage core ask: teacup

I am working on a playlist whose vibe is very powerful but which I also can’t even begin to parse so here’s the first five songs

kelsy lu - poor fake

dinah washington - ain’t nobody’s business but my own

petroushka tableau 1 russian dance

loma - half silences

the war on drugs - thinking of a place

[toymusa]

✨🦌 #PETROUSHKA #BALLET #RUSSIA #STRAVINSKY #CLASSICALMUSIC #VIOLIN #PERCUSSION #POETRY #WINTER #THEDEVIL #CARPEDIEM https://www.instagram.com/p/Bp5SWEHAML-/?utm_source=ig_tumblr_share&igshid=wikpmtso3kc8