Stravinsky and the Russian Traditions

Stravinsky and the Russian Traditions
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992
By:"Richard Taruskin"
"Biography & Autobiography"
Published on 2016-04-27 by Univ of California Press

See, for example, Joel \u003cb\u003eEric Suben\u003c/b\u003e, “Debussy and Octatonic Pitch Structure” (Ph.D\u003cbr\u003e\n. diss., Brandeis University, 1980), 8–15. For more on the “tritone link,” see R. \u003cbr\u003e\nTaruskin, review of two books on Scriabin in Music Theory Spectrum io (1988): ...

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This book undoes 50 years of mythmaking about Stravinsky's life in music. During his spectacular career, Igor Stravinsky underplayed his Russian past in favor of a European cosmopolitanism. Richard Taruskin has refused to take the composer at his word. In this long-awaited study, he defines Stravinsky's relationship to the musical and artistic traditions of his native land and gives us a dramatically new picture of one of the major figures in the history of music. Taruskin draws directly on newly accessible archives and on a wealth of Russian documents. In Volume One, he sets the historical scene: the St. Petersburg musical press, the arts journals, and the writings of anthropologists, folklorists, philosophers, and poets. Volume Two addresses the masterpieces of Stravinsky's early maturity--Petrushka, The Rite of Spring, and Les Noces. Taruskin investigates the composer's collaborations with Diaghilev to illuminate the relationship between folklore and modernity. He elucidates the Silver Age ideal of \

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