Igor Stravinsky - Capriccio for Piano and Orchestra [With score]

Composer: Igor Fyodorovich Stravinsky (17 June 1882 -- 6 April 1971)
Piano: Carlos Roque Alsina
Orchestra: Philharmonique de France
Conductor: Ernest Bour
Capriccio for piano and orchestra, written in 1929
00:00 - I. Presto
06:19 - II. Andante rapsodico
11:39 - III. Allegro capriccioso ma tempo giusto
After he had premiered his Concerto for Piano and Wind Instruments in 1924, Stravinsky had played that work about 40 times in Europe and America. By late 1928, he decided that he needed a new solo vehicle for his piano playing and Stravinsky began composing his Capriccio for piano and orchestra after Christmas of that year. The work was completed in September, 1929, and premiered in Paris with Ernest Ansermet conducting the Paris Symphony Orchestra and the composer at the piano.
The Capriccio was composed after Stravinsky had completed his "Tchaikovsky" ballet Le Baiser de la fée, a work whose music is based on the songs and piano piece of Tchaikovsky, and the same spirit of melodic refinement and rhythmic gracefulness permeates the three movements of the capriccio. Having written the Allegro capriccioso ma tempo giusto, the whole work took its title from that movement. Despite being scored for three each of flutes, oboes, and clarinet, two bassoons, four horns, two trumpets, three trombones, tuba, and timpani plus ripieno and concertino strings without second violins, the capriccio is a much lighter and more self-consciously charming work than the weighty Piano Concerto. It is also a more stylish work; in his writings about the capriccio, Stravinsky mentions Weber and Mendelssohn, "the two Beau Brummels" of music and his writing for the piano has some of their effervescent spirit as well.
The opening movement of the Capriccio starts with a slow-sounding introduction which is integrated the Presto body of the movement. This introduction returns at the close of the movement to give the impression of a rounded ABA form. The central movement is marked Andante rapsodico, but the expressive indication has more to do with the apparent emotionality of the themes than the structure of the music which is in a clear ABA form. The Andante capriccioso finale is the lightest and fastest of the three movements and, again, the expressive marking has more to do with the cheerful and witty quality of the themes than with the form of the music which is in rondo form.
The Capriccio is a huge step forward in Stravinsky's writing for the piano. In place of the heavy rhythms and thick textures of the Piano Concerto, he wrote for the piano in a manner much more in line with his manner of composing for winds and brass -- that is, more gracefully and elegantly.
[allmusic.com]
Original Audio: • Igor Stravinsky: Capri...

[@PhilippeBrun-qy3st]

Attention...chef-d'oeuvre. Merci.

[@paulamrod537]

Quite a roller coaster ride.

[@paulamrod537]

This rocks , funks and is a superlative modern neo-classic masterpiece.

[@nuthineatholl6434]

A challenger appears!! -- with her own starkly-minimalist Catcerto Catpriccioso for Piano and Orchestra: ua-cam.com/video/zeoT66v4EHg/v-deo.html
( ಠ ͜ʖಠ)

[@Churchcantor]

Somehow, Stravinsky managed to fuse together every style (even ones that hadn't been invented) while still remaining himself and creating stunning, moving compositions.

[@juanferestrada]

Delicious to listen to

[@sonicsnap1173]

Great work! I love it!

[@davidrehak3539]

Igor Sztravinszkij:Capriccio zongorára és zenekkara
1.Presto - Doppio movimento - Tempo I - Poco piú mosso 00:00
2.Andante rapsodico - Piú mosso - Tempo I 06.19
3.Allegro capriccioso ma tempo giusto 11:39
Ernest Bour-zongora
Francia Rádió Filharmonikus Zenekara
Vezényel:Carlos Roque Alsina

[@jonasdanielseneskeland3001]

Thank you so much for posting this. I'm writing a school paper in Stravinsky, and this has really helped me out. Not just the musicand the score, but the info below as well. thank you so much :)

[@adanayup9268]

Una genialidad...

[@camilaolavealarcon8819]

Rubies ❤️

[@josedomingosgiffonirosa8362]

Mesmo com diversas referências a outras obras do autor, esta peça é surpreendente e muito bem 4scrits!😂

[@enzoaabreu]

Can anyone tell me how difficult is the piano part for each movement?

[@user-nm3hh9rc5v]

sounds pretty much like Poulenc,, especially the way he treated the phrases,,,

[@meriadocbrandebouc]

Sounds a lot like his Violin concerto.

[@PianoDealerLiu]

great piece! where can we find the score please?

[@robotkarel]

In this video

[@moloxx7858]

1:55

[@moloxx7858]

merci mon moi du passé mdrrr t'es un putain de boss

[@ValseMelancolique]

According to Arthur Rubinstein’s memoirs, Stravinsky was obsessed with Carl Czerny’s Etudes while writing/revising this late work. Rubinstein could not understand his fascination, but Stravinsky swore that his technique and Composition was improving from daily study of Czerny etudes (which of the 1,000 pieces he studied is never mentioned) After knowing this, Czerny’s great influence can be seen in this work in certain passages, and also a movement back towards his form of Fundamental-Classicism (like his Symphony in Three-Movements) Wikipedia claims his influence to be Carl Maria von Weber - I strongly disagree.

[@chuppy00]

The beginning of 3rd movement sounds like petrushka

[@sigil5772]

I mean, Gershwin, right?

[@guidepost42]

What an imagination

[@-e.n.8374]

Bien plus intéressant que le concerto pour piano ce capriccio, plus dans la lignée du concerto pour violon

[@averysax6429]

The new music Tonal Scale is as thus: 12 7 5 2 3 : 1 4 5 9 14
Not 12 with 7 & 5 BUT 14 with 9 & 5 [2^(1/14)]
These are the Tonal Scales growing from f (by cycles of fifths):
All Scales build from the first mode: equivalent to Lydian f
White keys are = & Black keys are |
12 with 7 & 5 [2^(1/12)] =|=|=|==|=|= {1,8,3,10,5,12,7,2,9,4,11,6} 1thru7are= 8thru12are|
7 with 5 & 2 [2^(1/7)] ===|==| {1,3,5,7,2,4,6} 1thru5are= 6&7are|
5 with 2 & 3 [2^(1/5)] =||=| {1,3,5,2,4} 1&2are= 3thru5are|
Now evolving up the other end
5 with 4 & 1 [2^(1/5)] ==|== {1,3,5,2,4} 1thru4are= 5is|
9 with 5 & 4 [2^(1/9)] =|=|=|==| {1,8,3,7,5,9,2,4,6} 1thru5are= 6thru9are|
14 with 9 & 5 [2^(1/14)] =|=|===|=|===| {1,12,3,14,5,7,9,11,2,13,4,6,8,10} 1thru9are= 10thru14are|
Joseph Yasser is the actual originator of the realization,
that scales develop by cycles of fifths.
www.seraph.it/blog_files/623ba37cafa0d91db51fa87296693fff-175.html
www.academia.edu/4163545/A_Theory_of_Evolving_Tonality_by_Joseph_Yasser
www.musanim.com/Yasser/
The chromatic scale we use today is divided by 2^(1/12) twelfth root of two
Instead of moving to the next higher: the 19 tone scale 2^(1/19) nineteenth root of two
I decided to go all the way down and back up the other end:
So 12 - 7 = 5 & 7 - 5 = 2 & 5 - 2 = 3
Now we enter to the other side:
2 - 3 = -1 & 3 - -1 = 4 & -1 - 4 = -5 & 4 - -5 = 9 & -5 - 9 = -14
ignoring the negatives we have 1 4 5 9 14
Just follow the cycles how each scale is weaved together, as shown above.
Each scale has its own division within the frequency doubling,
therefore the 14 tones scale is 2^(1/14) fourteenth root of two

[@robotkarel]

Y eso que demonios tiene que ver con esta obra

[@averysax6429]

@@robotkarel "And what, the hell, has that to do with this work?"
Maybe he should have taught of it!!

[@GUILLOM]

Why here

[@amj.composer]

Cool idea but how the fuck are you supposed to play a xenharmonic scale on piano

[@GUILLOM]

@@amj.composer retune it

[@Cosimo-composer]

sounds like rachmaninoff,so romantic style

[@cobblestonegenerator]

I hope to god this is sarcasm.

[@baldrbraa]

The pianist should learn to play triplets.

[@gropifiasco]

Taka lui montré comment con fé