Igor Stravinsky - Symphonies of Wind instruments [With score]
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- Опубліковано 27 вер 2017
- -Composer: Igor Fyodorovich Stravinsky (17 June 1882 - 6 April 1971)
-Orchestra: London Sinfonietta
-Conductor: Esa-Pekka Salonen
Symphonies of Wind instruments [Symphonies d'instruments à vent], written in 1920, revised in 1947
If we discount the tribute that Igor Stravinsky composed in 1908 on the occasion of the death of his beloved teacher Rimsky-Korsakov (the work was lost during the Revolution, found in 2015), the composer's long string of In memoria -- by which he pays homage to some of the foremost musical, literary, and even political figures of the twentieth century -- begins in 1920 with the Symphonies of Wind Instruments, dedicated to the memory of Claude Debussy.
Here Stravinsky consciously used the term symphonies in the old French meaning of a sonorous piece, as in "Symphonies and Fanfares for the King's Supper." The composition dates from 1920 and grew from a short chorale-like work he wrote in Debussy's memory; this became the last section of a work about 10 minutes in length, composed for a rather large ensemble of 23 winds. The style and melodism of the work usually results in its being listed as the last of the composer's "Russian Period" works, but because of its austerity this writer tends to regard it as being the first important indication that Stravinsky was ready to shift to an aesthetic that leaves behind sensual appeal. He would soon find the style of neo-Classicism; meantime, there is a sense that the idea behind the work is the realization of the harmonic clashes that result from Stravinsky's usual method of mixing two separate chords. The work is of more than just historical interest; Stravinsky was constantly treading new ground here, with effective even if not lovable music. The score was revised in 1947, presumably to obtain copyright for the composer in the U.S.
Obviously the sound of a piece for 23 woodwinds is something that the audience at the 1921 London premiere of the work (with Serge Koussevitzky at the helm) found quite disconcerting (many audiences today still find it so), but coincident with that textural streamlining is an even more significant and startling architectural streamlining: the entire work is based on a handful of sharply defined themes and motives that Stravinsky makes little or no attempt to connect in any way; he instead chooses to isolate them via a very careful and almost thematic use of silence. As a result of this trimming of "extraneous" detail, the work is extremely brief.
description: [allmusic.com]
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The Rite of Spring: The Day After.
The Day After: If the 1913s had twitter replying to Stravinsky's stream of Rite of Spring
The last chord gives me chills every time. It's like an arrival at a place we didn't know we were looking for.
Surely Poulenc was inspired by this piece's ending for the end of his sextet. Also same major 9th chord at end of his first nocturne.
One of Stravinsky's very best, what a gorgeous piece. The dry texture of winds without any strings lends itself so well to Stravinsky's style.
The “un-Romantic” instrumentation brings to mind what Varese was doing at the same time.
@@DeflatingAtheism it really does
The sound we get here out of the dark cylindrical brass is mesmerizing. That is of course, due to the fantastic performance and blending from this incredible ensemble - but Stravinsky's ability to pick notes as utility of color is just brilliant in this piece.
This is an uncommonly beautiful performance - nothing forced, phrases intelligently shaped, perfect ensemble. Many thanks!
Stravinsky’s masterpiece in my humble opinion
Beautiful! Thank you for sharing with the score!!
I have loved this score since my undergraduate days. And then, in 1989 or 1990, I heard The Cleveland Orch. winds play it with Simon Rattle on the podium (I was living there 30 blocks from the hall). God, what an incredible wind choir that orchestra had/has. John Mack, oboe, Franklin Cohen, clarinet, etc. Stunning playing of that score!
Why do you consider this is his masterpiece?
@@TempodiPiano I can see why in that it's a microcosm of all Stravinsky's output in one piece.
@@licoricestic For me that'd be Agon, way later though. I do think this is a great summarization of his first period before moving to neo classicism.
Sublime. One of the greatest, most haunting scores of the 20th century.
this piece has come and planted numerous dreams within me
I wish I could write to Stravinsky and tell him how much I like this composition and how much I support what he said about it. No, it doesn't stir up the romantic emotions in me or bring tears to my eyes, but it does stir the part of me that loves inventiveness and the discovery of the new and unusual. Because frankly, this is one of the most bizarre pieces of music I've heard - and I love and appreciate it for that!
This reminds me so much of Mont Campbell's compositions in his bands Egg and National Health. Many bands in the prog and avant prog movements claimed a Stravinsky influence. This is the most direct lineage I think, deeper than Magma's and Univers Zero's acknowledged Stravinsky debt.
I love Egg. And National Health. Well spotted
I had no idea, until I read the excellent program notes up above, that this hauntingly, presciently modern piece was written "in memoriam" to Claude Debussy...
...but, after all these years, I think I get it now.
(Thanks for posting the score... a road map to Genius is always welcome.)
soon after debussy's death stravinsky published a chorale for piano which would become the lament which is interspersed through the piece, and which it ends with. interestingly, from a global perspective, the piece becomes proportionally more and more of the lament as it goes on- like a nagging thought he was trying to push aside, but was forced to accept and see through to it's end.
Very nicely performed. It is a blessing for us that at key points in history inspired composers like Stravinsky show up to keep music from going to shit, like great saints and mystics who introduce something Real into peoples lives.
Beautifully said.
Define shit
Oooh thank you so much I've been searching this one for so long ! I love that piece !
Oh, this gives me the mega-tingles. especially at no. 74 just at the end; I saw Rattle conducting this at a prom and he just closed his eyes in bliss at this point. The complexity of the music to produce such a wonderful mix is just amazing!
An extraordinary piece just as innovative as The Rite and subtly influential: the opening bar alone surely kickstarted the very different Bernstein's Prelude Fugue and Riffs and Birtwistle's Tragoedia for starters whilst its non-developmental block structure influenced many more (not least those composers who were not very good with developing material such as Tippett).
Played this 30 years ago! Where have the years gone??
Behind the bin at Tesco.
Thank you! Amazing performance!
Beautiful
A masterpiece
Antífona I
0:55
Troparion
1:55
Antífona II
4:18
Kanone
4:33
CORALE
6:30
01:54
Rhythm practice (flute part)
Love this piece, thanks so much for uploading
Brilliant recording
Damn. It's a piece that takes us from birth to death. What a gifted composer.
Wow, masterpiece.
So beautiful!
Also interesting that he used the ending of this to end his symphony in C later on and to wonderful effect with the strings just fading out the last chord!.
I love it
Thank you... :)
Those are some sweet stacks at about 8 and a half minutes
4:34
💚
These "symphonies" were compoed to the memory of Claude Debussy. We hav here a very clear rendering.But how far from Debussy are we ! ths is score seems to develop in an elusive way some fery tures drom "rge rite of the spring". - probably for thr last time before the so-called "neoclassical" period.
I revere Debussy and Stravinsky. In my youth I knew that "Prélude à l'après-midi d'un faune" and "Le Sacre du Printemps" were revolutionary works of art, beyond the wildest expectations of their musical milieux. Here we are, more than a hundred years later (1894 and 1913) and we are still engrossed by their beauty.
At 0:32 at rehearsal mark 3 I swear there's a line that's not written in the score. Ignoring the semiquaver anticipation in the previous bar, I hear a trombone playing D4, G3, C4 in the 2/8 bar, D4, G3 in the 3/16 bar and C4, D4, G3 in the 5/16 bar. And yet I don't see that in the score. Am I on drugs? Later that day... Ah it's not a concert score.
Can you send me score of this piece? Thank you!
5:00
why is it symphonies, rather than symphony?
If we take symphony's literal definition "consonance of sounds" then this is many "consonances" of sounds made by wind instruments.
メシアンのクロノクロミーは、これを参考にしていそう
So much going on. Clarinets playing up in the stratosphere and most importantly, NO SAXOPHONES! Leave those shenanigans for Grainger, lol.
true, he must have add saxophones, it would enrich the atmosphere
Hey lay off the saxophones! They do great work in Rachmaninoff's Symphonic Dances!
@@klop4228 I couldn't bear the idea of saxophones in the orchestra until I heard Symphonic Dances!
@@klop4228 Just to be clear, there is one (1) saxophone in the Rachmaninoff - and it only plays for a short stretch in the first movement. But what a gorgeous solo!
I see where Ticheli got some of his ideas
Du magst seine Musik
1:55 rite of spring quote? lmao
A fine pudding indeed.
🤣😅
Yes, excellent pudding !!
As a percussionist that literally practices everyday, I hope my high school band doesn't do this song.
Ok cheers
You should hope they WOULD do it!
Interesting. Still Russian but the composer begins to become too cosmopolit I guess.
This is bleachers
This one sucks so bad