#alexander stravinski

[tinyicis]

Peter and The Wolf

[gwydpolls]

Time Travel Question 64: Assorted Other Performances IV

These Questions are the result of suggestions from the previous iteration.

This category may include suggestions made too late to fall into the correct grouping.

Please add new suggestions below if you have them for future consideration.

I know a lot of people wanted to know why I chose L'apres Midi d'un Faune instead of Printemps on the first poll. Honestly I'd want to see both, but it was the Rudolf Nureyev's Faune tween me fell in love with when it was newly filmed. Rite of Spring didn't speak to me until I was a little older. It was arbitrary, and Printemps was always going to end up on a later poll. The enthusiasm for it was heart warming.

** London After Midnight is particularly lamented lost media so it gets it's own slot.

*** These are: Mily Balakirev, César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin. They did not fit in the slot.

[thepenumbrapodcast]

Did you already find it in the merch store? If not, here it is: the video of our 2023 live production of "Juno Steel and the Things We Buried," starring Joshua Ilon, Noah Simes, Kate Jones, and Alexander Stravinski, with accompaniment by Ryan Vibert. We were so happy to perform this for those who could make it, and we're excited to now share it with everyone else! Enjoy!

[loves-dream]

EVERYONE STOP I DID A THING

I did a thing :) (check link desc for more info)

^ invite a collaborator link

pieces that give me Feelings

- toccata and fugue (bach)

- swan lake (tchaikovsky)

- adagio for strings (barber)

- dance of the tumblers (rimsky-korsakov)

- the slow section in zampa overture (herold)

add more.

[opera-ghosts]

Maria Mikhailovna Kurenko. The forgotten name of the Russian singer.

Nowadays this name doesn't mean much to music lovers.However, in the early 20s of the last century, a reviewer for one of the Kyiv newspapers wrote: “The singer is the best coloratura soprano in Russia. "Nothing is impossible for her, neither technically nor vocally. She sings as easily as she breathes." “Without a doubt, among coloratura sopranos she is a star of the first magnitude.” In 1913, Maria Kurenko graduated from the Moscow Conservatory in solo singing under the famous teacher Umberto Masetti. Soon she made her debut on the stage of the Kharkov Opera in the role of Antonida in Glinka’s opera Ivan Susanin. Then Maria Mikhailovna was a soloist at the Kyiv Opera, and at the turn of the 1910s and 20s she sang at the Bolshoi Theatere and in the famous troupe of Sergei Zimin.

Unfortunately, the singer's artistic career in Soviet Russia was short-lived.In 1923, Kurenko received an invitation from Latvia, and for two seasons she performed there with great success in performances and concerts.Three years later, she went on a grand tour of Europe, after which she was invited to America. Kurenko's very first performance in Los Angeles in the role of Gilda brought the artist stunning success. “The performance of the singer Maria Kurenko, who is completely unknown to our public, was a triumph,” noted the critic for the Daily Times. The singer's popularity in the USA grew very quickly. She performed in the best opera houses, with first-class orchestras, wonderful conductors, and outstanding singers.She was one of a few artists honored to perform at the White House at the invitation of President Roosevelt. Kurenko had creative friendships with many musicians who found themselves in the United States.She was considered the most authoritative interpreter of Igor Stravinsky's vocal works. In the early 1930s, Alexander Grechaninov recorded twelve of his romances with her on gramophone records. Among the admirers of the singer's talent was Sergei Rachmaninov, who considered Maria Mikhailovna to be perhaps the best performer of his romances. Kurenko's chamber concert programs always included works by Russian composers - Glinka, Dargomyzhsky, Balakirev, Tchaikovsky, Rimsky-Korsakov. She performed Mussorgsky's songs magnificently, which were almost never performed at that time.

[sigmastolen]

Credits

Petrushka / music by Igor Stravinsky ; choreography, Michael Fokine

Performance: Bolshoi Ballet, produced by Mosfilm, released in 2002.

Andris Liepa (Petrushka), Tatiana Beletskaya (Ballerina), Gennady Taranda (Blackamore), Sergey Petukhov (Magician), Vitaly Breusenko (Devil)

Set and costume designs based on the original sketches of Alexander Benois; directors of photography, Maria Soloviova, Bogdan Verzhbitsky, Boris Mikhailov

(Choreographic work : Liepa after Fokine)

Bolshoy State Academic Theatre Orchestra conducted by Andrey Chistiakov ; directed by Andris Liepa

Filmed at the Mosfilm Studios, Moscow, 1990's.

[thesecondcitadel]

a thing I love about jet and alexander stravinski's performance is that, after hearing him in his full wild mode in clean break, I can hear that aspect of him so much more clearly in all his earlier material. that same wildness and half-real half-joking meanness is always there, just compressed and contained into wry humour and dry affect. I think that whole arc ran a tricky line of making jet Not Himself but also absolutely still himself, and the way it came out makes me reexamine the whole way he is the entire time.

[tikitania]

Mariinsky Playbill — Concert Dances / Scenes de Ballet

Wow! Quite a few surprises on the Mariinsky playbill. First, Alexandra Khiteeva is cast in the premiere performance of Alexander Sergeev's new Concert Dances aka "Scenes de Ballet," to music by Stravinsky. I haven't seen much choreography by Sergeev, so not sure what to expect. I did see snippets of Twelve and was a bit baffled to be honest. But keeping an open mind.

I'm still digging into the history of Stravinsky's score and found that other big name choreographers have tackled this music. Frederick Ashton's Scenes de Ballet with Sarah Lamb:

Christopher Wheeldon's Scenes de Ballet:

Given the creative partnership between Balanchine and Stravinsky, I wondered if he created a ballet to this — or used it elsewhere. I'm not sure, but still reading...

[boccadorata]

🔥 + classical music!!

i love love love classical music but honestly i think people have way too many misconceptions about it. there's the popular 'classical music is the height of the auditory art form, it is Superior and others are inferior, it shows the height of western civilization' (not fucking true, duh) and also 'classical music is pretentious and everyone who likes it is stuffy' (also not true :( there are definitely pockets that are pretentious, comes with the territory of music fans LMAO, but it's way more approachable than people give it credit for)

but the one that really gets to me is 'classical music all sounds the same / just study music / sends me to sleep / sounds generic / etc etc' and its so stupid to get that heated about it i know but IT'S NOT!!!!! IT'S NOT TRUE!!!! classical music is what people, alkin people, listen(ed) to, it is highly variable -- yes, it has its realms of conformity and nonconformity (academic art vs surrealists, etc ....) but it is just so vibrant and speaks of so many voices. if classical sounds the same to you you're not listening to classical

again people tend to boil it down to just one thing when classical music is really more of an umbrella term and it is very frustrating. i fully believe there is a niche of classical that can appeal to almost all sorts of music tastes. i get it, it's daunting. that symphony is an hour long, you don't know what minor and major mean, people are using so many big words, wagner is there, but i just wanna sit people down and go pleaese. PLEASE just take a chance on it (abba favorite classical composer)

here's some REAL classical music to sleep/study to (a mix of faves and 'must listens' that i have a fondness for)

string quartet no. 4 - béla bartók

piano trio no. 2 - dmitri shostakovich

st. luke passion - krzysztof penderecki

the rite of spring - igor stravinsky

choir concerto - alfred schnittke

le tombeau de couperin - maurice ravel

symphony no. 5 - gustav mahler

eine alpensinfonie - richard strauss

gayane - aram khachaturian

verklärte nacht - arnold schoenberg

scheherazade - nikolai rimsky-korsakov

symphony no. 10 - dmitri shostakovich

hungarian dances - johannes brahms

iron foundry - alexander mosolov

violin concerto - jean sibelius

erlkönig - franz schubert

[missanthropicprinciple]

thank you friend!!@mirmi

10 songs 10 people

rules: put your music on shuffle and list the first 10 songs that come up

Lights (Bassnectar Remix) - Ellie Goulding

Fire - Jimi Hendrix

Pulled Up - Talking Heads

Black and Gold - Sam Sparro

Stravinsky: Firebird - King Kastchei's Infernal Dance - Alexander Rahbari: BRT Philharmonic Orchestra Brussels

Bruised Water (Michael Woods Full Vocal Remix) - Chicane Feat. Natasha Bedingfield

Fantastic, That's You - Henry Cuesta

If I Wanted To Call You (The Holiday soundtrack)- Hans Zimmer

Family Salsa (The Birdcage soundtrack) - Bernard Edwards / Nile Rodgers

"Have To Help A Friend" (Flight of the Navigator soundtrack) - Alan Silvestri

Tagging: @comepraisetheinfanta @starbug1988 @trifoliate-undergrowth @dabney @headgehug @pokemonandcatsmostly @bryndeavour @davidfosterwallaceandgromit @problemwithtrouble @thetookasnest

[infini-tree]

🤥⚾️📢🪤 for sception/any other ocs you wanna do

oc emoji asks!

🤥 LYING - are they good liars? do they have tells to show they're lying?

better than a certain toilette "caved in and told his whole backstory to two kids he knew for less than 10 minutes" ree /j

for real, i think his lying game is pretty good. any weird discrepancy can be usually explained away by the fact that every adult in this series are a little off. and for the secrets that are on the more grounded end, getting him to reveal any of that (if you're not selainius) is like pulling teeth.

as for tells, its really a manner of knowing what to look for with him. spy work made him train out the most obvious of his tells, but he has a tendency to forcefully stuff his hands in his pockets to prevent his hands from giving him away. this paradoxically is a tell in and of itself, but hell if you know what the tell is for, exactly.

⚾ BASEBALL - can they play sports? what is their best position if they play a team sport? what's their strong suit (speed, power etc.)?

a few sports are off the table as a result of his eye injury, like basketball and baseball. for personal reasons, it would be ill-advised to put sception in a boxing or wrestling scenario, despite his combat training-- having a reduced field of vision in a combat scenario (even sports-based combat where there's a level of control) is anxiety inducing.

he'd probably do well in archery, or other agility/technique based sports.

discounting what i've said, though, in a team sport situation he'd be best equipped for any speed-based role on the side/support.

📣 MEGAPHONE - how loud are they? what do they speak like? got a voice claim?

my primary voiceclaim (in terms of vocal delivery, but not the voice actor i'd saddle him with), is alexander stravinsky, who voices jet siquliaq in the penumbra podcast. i've been trying to contend with which voice actor (in terms of actual voice) to give him and i've yet to figure it out.

as a result of me listening to tpp while i initially made him, this colors the rest of the answers of this prompt-- sception in present day is not particularly loud (which comes with the territory of a sabotage spy turned librarian) and has a typically measured tone. unlike jet, he has a few more instances of emotional inflection.

🪤 MOUSE TRAP - what will always lure them into certain danger? a loved one in danger? a promise of something they are always searching for?

as much as he wants to move on from his old spy days... if they asked him to come back to deal with an Omega Toilet level danger again, he would. as stated in the link above, he values knowledge and keeping that open to others so he takes some interest in anything that would go against that and on some level he feels a sense of obligation to fight.

this gets complicated considering that he has connections and a life outside now.

[sheetmusiclibrarypdf]

Igor Stravinsky (1882-1971)

Igor Stravinsky (1882-1971)Three Movements from Petrushka: The Shrovetide FairThree Movements from Petrushka: The Shrovetide Fair ·Arthur Rubinstein, piano · Igor StravinskyNew Highlights from "Rubinstein at Carnegie Hall" - Recorded During the Historic 10 Recitals of 1961Please, subscribe to our Library. Thank you!Best Sheet Music download from our Library.Igor Stravinsky's PetrushkaIgor Stravinsky (short bio)

Igor Stravinsky (1882-1971)

Three Movements from Petrushka: The Shrovetide Fair

https://www.youtube.com/watch?v=cSSWuIfb0LU Three Movements from Petrushka: The Shrovetide Fair · Arthur Rubinstein, piano · Igor Stravinsky New Highlights from "Rubinstein at Carnegie Hall" - Recorded During the Historic 10 Recitals of 1961

Igor Stravinsky's Petrushka

Petrushka (French: Pétrouchka; Russian: Петрушка) is a ballet and orchestral concert work by Russian composer Igor Stravinsky. It was written for the 1911 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Michel Fokine and stage designs and costumes by Alexandre Benois, who assisted Stravinsky with the libretto. The ballet premiered at the Théâtre du Châtelet on 13 June 1911 with Vaslav Nijinsky as Petrushka, Tamara Karsavina as the lead ballerina, Alexander Orlov as the Moor, and Enrico Cecchetti the charlatan. Petrushka tells the story of the loves and jealousies of three puppets. The three are brought to life by the Charlatan during the 1830 Shrovetide Fair (Maslenitsa) in Saint Petersburg, Russia. Petrushka loves the Ballerina, but she rejects him. She prefers the Moor. Petrushka is angry and hurt, and challenges the Moor. The Moor kills him with his scimitar. Petrushka's ghost rises above the puppet theatre as night falls. He shakes his fist at the Charlatan, then collapses in a second death. The gestation of Petrushka was not a straightforward matter. While completing The Firebird during the spring of 1910, Stravinsky had a "vision" of a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of The Rite of Spring. Immediately following the stunning success of The Firebird in June 1910, Diaghilev approached Stravinsky about a new ballet; the composer proposed the Rite theme. Diaghilev accepted in principle and suggested that the premiere might take place during the Paris season of the Ballets Russes during the spring of 1912. At the end of September 1910, Diaghilev went to visit Stravinsky in Clarens, Switzerland, where he was living at the time. Expecting to discuss the new ballet, Diaghilev was astonished to find Stravinsky hard at work on a totally different project. Stravinsky, it seems, had had another vision: "I saw a man in evening dress, with long hair, the musician or poet of the romantic tradition. He placed several heteroclite objects on the keyboard and rolled them up and down. At this the orchestra exploded with the most vehement protestations – hammer blows, in fact …" Later, Stravinsky wrote: "n composing the music, I had in my mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios. The orchestra in turn retaliates with menacing trumpet blasts." Although Stravinsky had conceived the music as a pure concert work—a Konzertstück, Diaghilev immediately realized its theatrical potential. The notion of a puppet put Diaghilev in mind of Petrushka, the Russian version of Punch and Judy puppetry that had formed a traditional part of the pre-Lenten Carnival festivities in 1830s St. Petersburg. Stravinsky composed the music during the winter of 1910–11 for Diaghilev's Ballets Russes. It was premièred in Paris at the Théâtre du Châtelet on 13 June 1911 under conductor Pierre Monteux, with choreography by Michel Fokine and sets by Alexandre Benois. The title role was danced by Vaslav Nijinsky. The work is characterized by the so-called Petrushka chord (consisting of C major and F♯ major triads played together), a bitonality device heralding the appearance of the main character. The original 1911 version of Petrushka is scored for the following orchestra. Stravinsky's 1946 scoring is for a smaller orchestra: Compared to the 1911 version, the 1946 version (given in 1947) requires 1 less flute; 2 fewer oboes, but a dedicated cor anglais player instead of one doubled by the fourth oboe; 1 less clarinet; 2 fewer bassoons, but a dedicated contrabassoon; neither of the 2 cornets, but an additional trumpet; 1 less snare drum and no tenor drum, thus removing the offstage instruments; no glockenspiel; and 1 less harp. While the original idea was Stravinsky's, Alexandre Benois provided the ethnographic details of the Shrovetide Fair and the traditions of the Russian puppet theater. And although Petrushka is frequently cited as an example of the complete integration of libretto, music, choreography, and scenic design, Stravinsky had composed significant portions of the music (chiefly the Second Tableau) before Benois became involved with the project. Petrushka begins with a festive orchestral introduction based, in part, on historical Russian street-hawkers' cries. The curtain rises to reveal St. Petersburg's Admiralty Square during the 1830s. The stage set (also by Benois) depicts several hucksters' booths, a ferris-wheel, a carousel, and (upstage center) a puppet theater. A crowd has gathered for the Shrovetide Fair (known as Maslenitsa), the carnival (analogous to Mardi Gras) preceding Lent. In Fokine's original choreography, a group of Drunken Revelers emerges from the crowd, dancing to Stravinsky's adaptation of the folk-tune "Song of the Volochobniki" ("Dalalin' Dalalin'" from Rimsky-Korsakov Op. 24 No. 47). Suddenly, the festive music is interrupted by strident brass announcing the appearance of the Master of Ceremonies on the balcony of his booth. The equivalent of a carnival "barker", he boasts of the attractions to be seen within. The squeaks of a street-organ are heard (clarinets and flutes) as an Organ-Grinder and Dancing Girl emerge from the crowd, which at first pays little attention as the barker continues to shout. The Dancer moves downstage and begins to dance to another Russian folk-song, "Toward Evening, in Rainy Autumn", while playing the triangle. At the other end of the stage, a second Dancing Girl appears, accompanied by a music box (suggested in the orchestra by the celesta). The two Dancing Girls compete for the crowd's attention to the strains of a ribald French music-hall song about a woman with a wooden leg: "Une Jambe de bois". Both tunes are repeated. The Drunken Revelers return (again to the "Song of the Volochobniki") interrupted several times by the Barker's boasts. The street-hawkers' cries of the very opening are heard once more. Suddenly, two drummers summon the crowd to the puppet theater with deafening drumrolls. The Magician (sometimes called the "Charlatan") appears to mystical groans from the bassoon and contrabassoon. When he has everyone's attention, he produces a flute and begins to play a long, improvisatory melody. The curtain of the puppet theater rises to reveal three puppets hanging on the wall: the Moor, the Ballerina, and Petrushka. When the Magician touches them with his flute (to chirps in the orchestra), they seem to awaken. The astonished crowd watches as, with a wave of the Magician's hand, the three puppets begin a vigorous Russian Dance (based on two more Russian folk-tunes: "A Linden Tree Is in the Field" and "Song for St. John's Eve"). In Fokine's masterly choreography, they first begin to move their feet (while still hanging on the wall), then burst forth from the puppet theater into the midst of the crowd. The Moor (resplendent in turban and exaggerated pantaloons) is swashbuckling. The Ballerina dances perpetually en pointe. Petrushka, on the other hand, is wooden and awkward. It becomes apparent Petrushka loves the Ballerina; but she has eyes only for the Moor. The Magician calls the dance to a halt; the curtain falls rapidly. Although Petrushka's room is inside the puppet theater, the Benois design is fantastical, portraying the night sky with stars and a half-moon; abstract icebergs (or snow-capped mountains), and a prominent portrait of the Magician. Drumrolls announce the beginning of the Second Tableau. Without an Introduction, the music begins menacingly. "A foot kicks him onstage; Petrushka falls…" As Petrushka gradually pulls himself together, we hear a strange arpeggio in the clarinets: this is the famous "Petrushka chord" (consisting of juxtaposed triads of C major and F♯ major). Petrushka gets to his feet (although shakily) to the accompaniment of waves of arpeggios from the piano (revealing the music's origins in Stravinsky's Konzertstück). The "Petrushka Chord" returns, now violently scored for trumpets, marked in the score "Petrushka's Curses", directed at the portrait of the Magician. The music turns lyrical as Petrushka falls to his knees and mimes (in turn) his self-pity, love for the Ballerina, and hatred of the Magician. The Ballerina (still en pointe) sneaks into Petrushka's room, at first unnoticed. As soon as Petrushka sees her, he begins a manic, athletic display of leaps and frantic gestures (although he was barely able to stand before she arrived). Frightened by his exuberance, the Ballerina flees. Petrushka falls to the floor to the mocking of the clarinets. Another passage of arpeggios for piano grows into a second round of curses directed at the Magician, again represented musically by the "Petrushka Chord", this time scored for full orchestra. For just a moment, Petrushka peers out of his room at the crowd assembled in Admiralty Square (Stravinsky provides a brief reference to the "crowd music" of the First Tableau). Then, Petrushka collapses as we hear a taunting reprise of the clarinets playing the "Petrushka Chord", followed by an odd trumpet call signalling "blackout, curtain." As before, drumrolls link the Third Tableau to its predecessor (in the 1911 score, Stravinsky directs that this drumroll should be omitted in concert performance). In sharp contrast to the darkness of Petrushka's Room, the brilliant colors of the Benois design for the Moor's Room evoke a romanticized desert: palm trees, exotic flowers, sand. In Fokine's choreography, the Moor reclines on a divan playing with a coconut. He then jumps to his feet and attempts to cut it with his scimitar. When he fails he believes that the coconut must be a god and proceeds to pray to it. The Charlatan places the Ballerina in the Moor's room. The Ballerina is attracted to the Moor's handsome appearance. She plays a saucy tune on a toy trumpet (represented by a cornet in the original 1911 orchestration) and then dances with the Moor in a waltz (the themes taken from Joseph Lanner's Op. 165 No. 1 and Op. 200 No. 1). Petrushka finally breaks free from his cell; he interrupts the seduction of the Ballerina. Petrushka attacks the Moor but soon realizes he is too small and weak. The Moor beats Petrushka. The ballerina faints. The clown-puppet flees for his life, with the Moor chasing him, and escapes from the room. The fourth and final scene returns to the carnival. Some time has passed; it is now early evening. The orchestra introduces a chain of colourful dances as a series of apparently unrelated characters come and go about the stage as snow begins to fall. The first and most prominent is the Wet-Nurses' Dance, performed to the tune of the folk song "Down the Petersky Road". Then comes a peasant with his dancing bear, followed in turn by a group of a gypsies, coachmen and grooms and masqueraders. As the merrymaking reaches its peak, a cry is heard from the puppet-theater. Petrushka suddenly runs across the scene, followed by the Moor in hot pursuit brandishing his sword, and the terrified Ballerina chasing after the Moor, fearful of what he might do. The crowd is horrified when the Moor catches up with Petrushka and slays him with a single stroke of his blade. The police question the Charlatan. The Charlatan seeks to restore calm by holding the "corpse" above his head and shaking it to remind everyone that Petrushka is but a puppet. As night falls and the crowd disperses, the Charlatan leaves, carrying Petrushka's limp body. All of a sudden, Petrushka's ghost appears on the roof of the little theatre, his cry now in the form of angry defiance. Petrushka's spirit thumbs its nose at his tormentor from beyond the wood and straw of his carcass. Now completely alone, the Charlatan is terrified to see the leering ghost of Petrushka. He runs away while allowing himself a single frightened glance over his shoulder. The scene is hushed, leaving the audience to wonder who is "real" and who is not. The work is divided into four tableaux (scenes). The score further indicates the following episodes: During rehearsals for the 1911 premiere, Stravinsky and other pianists including Russian composer Nikolai Tcherepnin used a piano four-hand version of the score. This has never been published, although Paul Jacobs and Ursula Oppens, among other pianists, have played it in concert. In 1921, Stravinsky created a virtuosic and celebrated piano arrangement for Arthur Rubinstein, Trois mouvements de Petrouchka, which the composer admitted he could not play himself, for want of adequate left-hand technique. Herbert Stothart, who composed the score for The Wizard of Oz, was visited by Stravinsky at MGM in 1936. Stravinsky gifted Stothart a personal, signed copy of Petrushka. As the main characters in the film run through the Deadly Poppy Field, the opening to the fourth tableau can be heard briefly. In 1946, he thinned the ballet's scoring, in part because the original was not covered everywhere by copyright. The rapid continuous timpani and snare-drum notes that link each scene, optional in 1911, are compulsory in this version, which was published in 1947. The Ballerina's tune is assigned to a trumpet in 1946 in place of a cornet, and the 1946 version provides an optional fff (fortississimo) near the piano conclusion. Stravinsky also removed some difficult metric modulations in the First Tableau. Separately Stravinsky created a suite for concert performance, an almost complete version of the ballet but cutting the last three sections. In 1956, an animated version of the ballet appeared as part of NBC's Sol Hurok Music Hour. It was personally conducted by Stravinsky himself and was the first such collaboration. Directed by animator John David Wilson with Fine Arts Films, it has been noted as the first animated special ever to air on television. In 1988, Maddalena Fagandini directed a version of Petrushka along with The Sleeping Beauty (Tchaikovsky), The Nutcracker (and the Mouse King) (Tchaikovsky) and Coppélia (Delibes) in the BBC puppet film Musical Tales which was released in VHS. Basil Twist debuted his puppetry version of Petrushka at Lincoln Center in 2001; it was performed as well at New York City Center's 2009 Fall for Dance Festival. A full transcription of the 1911 version for symphonic wind ensemble in the original key was made by Don Patterson.

Igor Stravinsky (short bio)

Igor Fyodorovich Stravinsky (17 June 1882 – 6 April 1971) was a Russian composer and conductor with French citizenship (from 1934) and American citizenship (from 1945). He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music. Born to a famous bass in Saint Petersburg, Russia, Stravinsky grew up taking piano and music theory lessons. While studying law at the University of Saint Petersburg, he met Nikolai Rimsky-Korsakov and studied under him until his death in 1908. Igor Stravinsky met the impresario Sergei Diaghilev soon after, who commissioned the composer to write three ballets for the Ballets Russes's Paris seasons: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913), the last of which caused a near-riot at the premiere due to its avant-garde nature and later changed the way composers understood rhythmic structure. Stravinsky's compositional career is often divided into three periods: his Russian period (1913–1920), his neoclassical period (1920–1951), and his serial period (1954–1968). During his Russian period, Stravinsky was heavily influenced by Russian styles and folklore. Works such as Renard (1916) and Les noces (1923) drew upon Russian folk poetry, while compositions like L'Histoire du soldat (1918) integrated these folk elements with popular musical forms, including the tango, waltz, ragtime, and chorale. His neoclassical period exhibited themes and techniques from the classical period, like the use of the sonata form in his Octet (1923) and use of Greek mythological themes in works like Apollon musagète (1927), Oedipus rex (1927), and Persephone (1935). In his serial period, Stravinsky turned towards compositional techniques from the Second Viennese School like Arnold Schoenberg's twelve-tone technique. In Memoriam Dylan Thomas (1954) was the first of his compositions to be fully based on the technique, and Canticum Sacrum (1956) was his first to be based on a tone row. Stravinsky's last major work was the Requiem Canticles (1966), which was performed at his funeral. While many supporters were confused by Stravinsky's constant stylistic changes, later writers recognized his versatile language as important in the development of modernist music. Stravinsky's revolutionary ideas influenced composers as diverse as Aaron Copland, Philip Glass, Béla Bartók, and Pierre Boulez, who were all challenged to innovate music in areas beyond tonality, especially rhythm and form. In 1998, Time magazine listed Stravinsky as one of the 100 most influential people of the century. Stravinsky died of pulmonary edema on 6 April 1971 in New York City, having left six memoirs written with his friend and assistant Robert Craft, as well as an earlier autobiography and a series of lectures. Read the full article

[hellocanticle]

Political Classical: Conflict in the Concert Hall, Hans Werner Henze's "Das Floß der Medusa" (1968), then and since then.

Political Classical: Conflict in the Concert Hall, Hans Werner Henze's "Das Floß der Medusa" (1968), then and since then

Cover of the original vinyl release of “Der Floss der Medusa” The 1913 riotous premiere of Stravinsky’s “Rite of Spring” is pretty well known in classical music history. Sandwiching the premiere of his masterpiece of modernism between well known conservative chestnuts such as “Les Sylphides” (an orchestration by Alexander Glazunov of piano music by Chopin, 1907-9) which opened the concert along…

[brookstonalmanac]

Events 5.29 (before 1930)

363 – The Roman emperor Julian defeats the Sasanian army in the Battle of Ctesiphon, under the walls of the Sasanian capital, but is unable to take the city. 1108 – Battle of Uclés: Almoravid troops under the command of Tamim ibn Yusuf defeat a Castile and León alliance under the command of Prince Sancho Alfónsez. 1167 – Battle of Monte Porzio: A Roman army supporting Pope Alexander III is defeated by Christian of Buch and Rainald of Dassel. 1176 – Battle of Legnano: The Lombard League defeats Emperor Frederick I. 1233 – Mongol–Jin war: The Mongols entered Kaifeng after a successful siege and began looting in the fallen capital of the Jin dynasty. 1328 – Philip VI is crowned King of France. 1416 – Battle of Gallipoli: The Venetians under Pietro Loredan defeat a much larger Ottoman fleet off Gallipoli. 1453 – Fall of Constantinople: Ottoman armies under Sultan Mehmed II capture Constantinople after a 53-day siege, ending the Roman Empire after over 2,000 years. 1658 – Battle of Samugarh: decisive battle in the struggle for the throne during the Mughal war of succession (1658–1659). 1660 – English Restoration: Charles II is restored to the throne of England, Scotland and Ireland. 1733 – The right of settlers in New France to enslave natives is upheld at Quebec City. 1780 – American Revolutionary War: At the Battle of Waxhaws, the British continue attacking after the Continentals lay down their arms, killing 113 and critically wounding all but 53 that remained. 1790 – Rhode Island becomes the last of North America's original Thirteen Colonies to ratify the Constitution and become one of the United States. 1798 – United Irishmen Rebellion: Between 300 and 500 United Irishmen are executed as rebels by the British Army in County Kildare, Ireland. 1807 – Mustafa IV became Sultan of the Ottoman Empire and Caliph of Islam. 1825 – The Coronation of Charles X of France takes place in Reims Cathedral, the last ever coronation of a French monarch. 1851 – Sojourner Truth delivers her famous Ain't I a Woman? speech at the Woman’s Rights Convention in Akron, Ohio. 1852 – Jenny Lind leaves New York after her two-year American tour. 1861 – The Hong Kong General Chamber of Commerce is founded, in Hong Kong. 1864 – Emperor Maximilian I of Mexico arrives in Mexico for the first time. 1867 – The Austro-Hungarian Compromise of 1867 ("the Compromise") is born through Act 12, which establishes the Austro-Hungarian Empire. 1868 – Mihailo Obrenović III, Prince of Serbia is assassinated. 1886 – The pharmacist John Pemberton places his first advertisement for Coca-Cola, which appeared in The Atlanta Journal. 1900 – N'Djamena is founded as Fort-Lamy by the French commander Émile Gentil. 1903 – In the May Coup, Alexander I, King of Serbia, and Queen Draga, are assassinated in Belgrade by the Black Hand (Crna Ruka) organization. 1913 – Igor Stravinsky's ballet score The Rite of Spring receives its premiere performance in Paris, France, provoking a riot. 1914 – The Ocean liner RMS Empress of Ireland sinks in the Gulf of Saint Lawrence with the loss of 1,012 lives. 1918 – Armenia defeats the Ottoman Army in the Battle of Sardarabad. 1919 – Albert Einstein's theory of general relativity is tested (later confirmed) by Arthur Eddington and Andrew Claude de la Cherois Crommelin. 1920 – The Louth flood of 1920 was a severe flash flooding in the Lincolnshire market town of Louth, resulting in 23 fatalities in 20 minutes. It has been described as one of the most significant flood disasters in the United Kingdom during the 20th century.

[hpmoon]

This is a tribute to the famous meme by composer and trombonist Alex Heitlinger, who strung out 41 clips of musicians playing the same "lick," crowd-sourced by an online community. While the 2011 video celebrates each performer's individuality full-screen, this presentation accumulates them into a visual chorus: keeping faithful to each clip as originally seen and heard, but emphasizing their plurality in a timeless music motif.

I remastered the source clips into higher resolution, with artifacts cleaned and colors graded, just to compensate for imbalance in the original lo-fi media. The 41 remastered clips populate sequentially into a 15-panel matrix at the 4K resolution presented here. Some years ago, Alex reported a partial list of his original sources (not in order of appearance): John Coltrane, Branford Marsalis, Herbie Hancock, Keith Jarrett, Freddie Hubbard, Danilo Perez, JJ Johnson, Robin Eubanks, Igor Stravinsky, Dave Brubeck, Sam Rivers, Eric Alexander, Lee Konitz, Pat Metheny, Michael Brecker, Charles Mingus, Deangelo, Tia Fuller, Snarky Puppy, Rick Margitza, Donald Harrison, Jeff Tain Watts, Esperanza Spaulding, Chick Corea, Player, Beyonce, Sheena Easton, Pancho Sanchez, and Dexter Gordon.

[mi4011ayodyarajakaruna]

Background music used in Oskar Fischinger's animation

Oskar Fischinger was a gifted animator who used a wide variety of musical genres in his animation. Instead of keeping to a particular genre, he experimented with jazz, classical works, and even experimental electronic noises. He animated works such as Igor Stravinsky's "The Rite of Spring", "Franz Schubert's "Unfinished Symphony", and Johann Sebastian Bach's "Brandenburg Concerto No.3". In addition, Fischinger collaborated with contemporary composers like Hans Erdmann and Alexander Gretchaninov.

How Fischinger matched his animations with the music was what really set them apart. He was able to convert the musical composition's rhythms, melodies, and dynamics into visual aspects by closely examining it. As a result, he was able to seamlessly blend the music with the animation, giving the viewer a stunning and engrossing experience. As an inventive artist, Fischinger stands out for his meticulous attention to detail and his ability to choreograph each frame to correlate with the relevant musical aspects. He even collaborated with experimental and avant-garde composers such as John Cage to produce ground-breaking animations that stretched and definition of what was considered art. Overall, Fischinger created a very unique audio-visual experience with his animations, which were visually appealing due to his innovative techniques to merging music and pictures.

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