Skip to main content Accessibility help
×
  • Cited by 13
Publisher:
Cambridge University Press
Online publication date:
March 2013
Print publication year:
2013
Online ISBN:
9781139017954

Book description

Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, is here placed at the centre of a fundamental reconsideration of his whole output - viewed from the unprecedented perspective of his relationship with the piano. Graham Griffiths assesses Stravinsky's musical upbringing in St Petersburg with emphasis on his education at the hands of two extraordinary teachers whom he later either ignored or denounced: Leokadiya Kashperova, for piano and Rimsky-Korsakov, for instrumentation. Their message, Griffiths argues, enabled Stravinsky to formulate from that intensely Russian experience an internationalist brand of neoclassicism founded upon the premises of objectivity and craft. Drawing directly on the composer's manuscripts, Griffiths addresses Stravinsky's lifelong fascination with counterpoint and with pianism's constructive processes. Stravinsky's Piano presents both of these as recurring features of the compositional attitudes that Stravinsky consistently applied to his works, whether Russian, neoclassical or serial, and regardless of idiom and genre.

Reviews

'… an eloquently written monograph that traces the influence of Stravinsky’s pianism on his compositional process … Stravinsky’s Piano is a resounding success that will be celebrated by the Stravinsky community for years to come.'

Source: Music and Letters

'This is a well-written, engaging book that delves into technical discussion of compositional processes while remaining eminently readable … Highly recommended. Upper-division undergraduates, graduate students, faculty, and professionals.'

K. Boyd Source: Choice

'With this extremely readable book, Griffiths has made a significant contribution to Stravinsky research. His focus on the concept of ‘pal’tserazvitiye’ is particularly fascinating. His next research project is eagerly awaited.'

Mai Ikehara Source: Ongakugaku: Journal of the Musicological Society of Japan

Refine List

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
×

Contents

Bibliography

Abraham, Gerald. ‘Nikolay Andreyevich Rimsky-Korsakov’. In The New Grove Dictionary of Music and Musicians, 20 vols., Vol. XVI, ed. Stanley Sadie. London: Macmillan, 1980, pp. 26–41
Abraham, GeraldRimsky-Korsakov: A Short Biography. New York: AMS Press, 1975 [1945]
Adorno, Theodor W. ‘From “The Culture Industry: Enlightenment as Mass Deception (1947)”’. In The Norton Anthology of Theory and Criticism, ed. Vincent B. Leitch. New York: W. W. Norton, 2001, pp. 1223–40
Adorno, Theodor W.Philosophy of Modern Music, trans. Anne G. Mitchell and Wesley V. Blomster. London; New York: Continuum, 2007
Adorno, Theodor W.Quasi una fantasia: Essays on Modern Music, trans. Rodney Livingstone. London: Verso, 1992
Agawu, Kofi. ‘Schubert’s Sexuality: A Prescription for Analysis?’. Nineteenth-Century Music 17.1 (Summer 1993), 79–82
Albright, Daniel. Stravinsky: The Music Box and the Nightingale. New York: Gordon and Breach, 1989
Andriessen, Louis with Jonathan Cross. ‘Composing with Stravinsky’. In The Cambridge Companion to Stravinsky, ed. Jonathan Cross. Cambridge: Cambridge University Press, 2003, pp. 248–59
Andriessen, Louis and Elmer Schönberger. The Apollonian Clockwork: On Stravinsky, trans. Jeff Hamburg. Amsterdam: Amsterdam University Press; Amsterdam Academic Archive, 2006
Anon. [Eric Walter White?]. Igor Stravinsky. Miniature Essays. London; Geneva: J. & W. Chester, 1925
Ansermet, Ernest. Les Fondements de la musique dans la conscience humaine, 2 vols. Neuchâtel: A la Baconnière, 1961
Asaf’yev, Boris. A Book about Stravinsky, trans. Richard F. French. Ann Arbor: UMI Research Press, 1982
Asafyev, BorisKniga o Stravinskom. Leningrad: Muzïka, 1977 [1929]
Ayrey, Craig. ‘Stravinsky in Analysis’. In The Cambridge Companion to Stravinsky, ed. Jonathan Cross. Cambridge: Cambridge University Press, 2003, pp. 203–29
Babbitt, Milton. ‘Order, Symmetry, and Centricity in Late Stravinsky’. In Confronting Stravinsky, ed. Jann Pasler. Berkeley: University of California Press, 1986, pp. 247–61
Asafyev, Boris [Untitled article]. In Stravinsky (1882–1971): A Composers’ Memorial. Special double issue of Perspectives of New Music9.2, 10.1 (1971), 103–7
Barba, Eugenio. Meyerhold’s Etude: Throwing the Stone. Archive no. 1 (videotape). Exeter: Arts Documentation Unit, 1997
Bartlett, Rosamund. ‘Stravinsky’s Russian Origins’. In The Cambridge Companion to Stravinsky, ed. Jonathan Cross. Cambridge: Cambridge University Press, 2003, pp. 3–18
Bartók, Béla. Béla Bartók Essays, ed. Benjamin Suchoff. London: Faber and Faber, 1976
Bellamann, Henry. ‘Isidor Philipp’. The Musical Quarterly29.4 (October 1943), 41725
Bely, Andrei. Petersburg (1916), trans. Robert A. Maguire and John E. Malmstad. London: Penguin, 1983
Benois, Alexandre. Reminiscences of the Russian Ballet. London: Putnam, 1941
Berio, Luciano. ‘Adieu’. In Stravinsky (1882–1971): A Composers’ Memorial. Special double issue of Perspectives of New Music9.2, 10.1 (1971), 129–30
Berlin, Isaiah. ‘Fathers and Children: Turgenev and the Liberal Predicament’. In Ivan Turgenev, Fathers and Sons, trans. Rosemary Edmonds. London: Penguin, 1975, pp. 7–61
Berlin, IsaiahRussian Thinkers, ed. Henry Hardy and Aileen Kelly. London: Penguin, 2008
Bie, Oscar. A History of the Pianoforte and Pianoforte Players, trans. and rev. E. E. Kellett and E. W. Naylor. New York: Da Capo Press, 1966 [1899]
Bloom, Harold. ‘From “The Anxiety of Influence” (1973)’. In The Norton Anthology of Theory and Criticism, ed. Vincent B. Leitch. New York: W. W. Norton, 2001, pp. 1794–805
Boehm, Gottfried, Ulrich Mosch and Katharina Schmidt (eds.). Canto d’Amore: Classicism in Modern Art and Music, 1914–1935. London: Merrell Holberton, 1996
Boekaerts, M. and M. Niemivirta. ‘Self-Regulated Learning: Finding a Balance between Learning Goals and Ego-Protective Goals’. In A Handbook of Self-Regulation, ed. M. Boekaerts, P. R. Pintrich and Moshe Zeidner. San Diego: Academic Press, 2000, pp. 417–51
Bohlman, Philip V. ‘Ontologies of Music’. In Rethinking Music, ed. Nicholas Cook and Mark Everist. Oxford: Oxford University Press, 2001, pp. 17–34
Boretz, Benjamin and Edward T. Cone (eds.). Perspectives on Schoenberg and Stravinsky. Princeton: Princeton University Press, 1968
Bowen, Catherine Drinker. Free Artist: The Story of Anton and Nicholas Rubinstein. New York: Random House, 1939
Braun, Edward. The Theatre of Meyerhold: Revolution on the Modern Stage. London: Methuen, 1986
Brée, Malwine. The Groundwork of the Leschetizky Method: Issued with His Approval by His Assistant Malwine Brée with Forty-Seven Illustrative Cuts of Leschetizky’s Hand, trans. Th. Baker. New York: G. Schirmer, 1902
Brown, Malcolm Hamick. ‘Stravinsky and Prokofiev: Sizing up the Competition’. In Confronting Stravinsky: Man, Musician, and Modernist, ed. Jann Pasler. Berkeley: University of California Press, 1986, pp. 39–50
Butler, Christopher. Modernism: A Very Short Introduction. Oxford: Oxford University Press, 2010
Butler, Christopher ‘Stravinsky as Modernist’. In The Cambridge Companion to Stravinsky, ed. Jonathan Cross. Cambridge: Cambridge University Press, 2003, pp. 19–36
Camp, John. Discovering Bells and Bell-Ringing. Princes Risborough: Shire, 2001
Campbell, Stuart (ed. and trans.). Russians on Russian Music, 1830–1880: An Anthology. Cambridge: Cambridge University Press, 1994
Chomsky, NoamRussians on Russian Music, 1880–1917: An Anthology. Cambridge: Cambridge University Press, 2003
Carr, E. H.The Romantic Exiles. London: Serif, 2007
Chaliapin, Fyodor Ivanovich.Chaliapin: An Autobiography as Told to Maxim Gorky, ed. and trans. Nina Froud and James Hanley. London: Macmillan, 1968
Cingria, Charles-Albert. Pétrarque. Lausanne: Editions L’Age d’Homme, 2003 [1932]
Clementi, Muzio. Introduction to the Art of Playing on the Piano Forte. London: Clementi, 1801
Coleridge, Samuel Taylor. Coleridge: Selected Poems, ed. Richard Holmes. London: HarperCollins, 1996
Cortot, Alfred. ‘Igor Strawinsky, le piano et les pianistes’. La Revue musicale20.191, special issue on Igor Stravinsky (May–June 1939), 24–68
Cortot, AlfredLa Musique française de piano, troisième série. Paris: Presses Universitaires de France, 1944
Craft, Robert (ed.). Dearest Bubushkin: The Selected Letters and Diaries of Vera and Igor Stravinsky, trans. Lucia Davidova. London: Thames and Hudson, 1985
Craft, Robert (ed.). Stravinsky: Selected Correspondence, 3 vols. London: Faber and Faber, 1982–5
Craft, Robert. ‘The Rite of Spring: Genesis of a Masterpiece’. In Igor Stravinsky, The Rite of Spring: Sketches 1911–1913. London: Boosey & Hawkes, 1969, pp. xv–xxv
Cortot, AlfredRoland-Manuel and the “Poetics of Music”’, Perspectives of New Music 21.1–2 (1982–3), 487–505 (p. 487)
Cortot, AlfredStravinsky: Chronicle of a Friendship 1948–1971. New York: Alfred A. Knopf, 1972
Cortot, AlfredStravinsky: Chronicle of a Friendship. Rev. and expanded edn. Nashville; London: Vanderbilt University Press, 1994
Cortot, AlfredStravinsky: Glimpses of a Life. London: Lime Tree, 1992
Cross, Jonathan. The Stravinsky Legacy. Cambridge: Cambridge University Press, 1998
Cross, Jonathan ‘Stravinsky’s Theatres’. In The Cambridge Companion to Stravinsky, ed. Jonathan Cross. Cambridge: Cambridge University Press, 2003, pp. 137–48
Cuddon, J. A.The Penguin Dictionary of Literary Terms and Literary Theory, rev. C. E. Preston. London: Penguin, 1999
Dahlhaus, Carl. Foundations of Music History. Cambridge: Cambridge University Press, 1983
Dahlhaus, CarlNineteenth-Century Music, trans. J. Bradford Robinson. Berkeley: University of California Press, 1989 [1980]
Dannreuther, Edward. ‘Henselt’. In The NewGrove Dictionary of Music and Musicians, 20 vols., Vol. VIII, ed. Stanley Sadie. London: Macmillan, 1980, p. 489
Dannreuther, Edward ‘Study’. In Grove’s Dictionary of Music and Musicians, 9 vols., Vol. VIII, ed. Eric Blom. London: Macmillan, 1954, p. 156.
Dawes, Frank. ‘Pianoforte, Section II: Piano Playing’. In The New Grove Dictionary of Music and Musicians, 20 vols., Vol. XVI, ed. Stanley Sadie. London: Macmillan, 1980, pp. 711–14
Dostoyevsky, Fyodor Mikhailovich. Crime and Punishment (1865-6), trans. David McDuff. London: Penguin, 2003 [1991]
Drewal, Margaret Thompson. ‘Constructionist Concepts in Balanchine’s Choreography’. Ballet Review13.3 (Autumn 1985), 427
du Pré, Hilary and Piers du Pré. A Genius in the Family: An Intimate Portrait of Jacqueline du Pré. London: Chatto and Windus, 1997
Dyachkova, L. S. ed., with Boris M. Yarustovsky. I. F. Stravinskiy: stat’ i i material’i. Moscow: Sovetskiy Kompozitor, 1973.
Evans, Edwin. Music and the Dance. London: Jenkins, 1948
Fay, Amy. Music Study in Germany. New York: Dover, 1965 [1880]
Ferguson, Howard. ‘Study’. In The New Grove Dictionary of Music and Musicians, 20 vols., Vol. XVIII, ed. Stanley Sadie. London: Macmillan, 1980, p. 304
Figes, Orlando. Natasha’s Dance: A Cultural History of Russia. London: Allen Lane, Penguin, 2002
Foss, Lukas. ‘Thirteen Ways of Looking at Igor Stravinsky’. In Stravinsky (1882–1971): A Composers’ Memorial. Special double issue of Perspectives of New Music9.2, 10.1 (1971), 61–2
Freeborn, Richard. The Russian Revolutionary Novel: Turgenev to Pasternak. Cambridge: Cambridge University Press, 1982
Garden, Edward. ‘Anton Rubinstein’. In The New Grove Dictionary of Music and Musicians, 20 vols., Vol. XVI, ed. Stanley Sadie. London: Macmillan, 1980, pp. 297–300
Gerig, Reginald R.Famous Pianists and Their Technique. New York: Robert B. Luce, 1974
Gide, André. The Counterfeiters. London: Penguin, 1926
Gladkov, Aleksandr. Meyerhold Speaks, Meyerhold Rehearses. London: Harwood, 1997
Gloag, Kenneth. ‘Russian Rites: Petrushka, The Rite of Spring and Les Noces’. In The Cambridge Companion to Stravinsky, ed. Jonathan Cross. Cambridge: Cambridge University Press, 2003, pp. 79–97
Goddard, Scott. ‘“Chronicle of My Life”, by Igor Stravinsky’. Music & Letters 17.3 (July 1936), 2535
Goehr, Lydia. The Imaginary Museum of Musical Works. Oxford: Clarendon Press, 1992
Gogol, Nikolay Vasilievich. Dead Souls (1842), trans. Robert A. Maguire. London: Penguin, 2004
Goncharov, Ivan. Oblomov (1859), trans. David Magarshack. London: Penguin, 2005, [1954]
Goubault, Christian. Igor Stravinsky. Paris: Librairie Honoré Champion, 1991
Grace, Harvey. ‘Igor Stravinsky: Chronicle of My Life’. The Musical Times 77.1120 (June 1936)
Griffiths, Paul. Igor Stravinsky: The Rake’s Progress. Cambridge Opera Handbooks. Cambridge: Cambridge University Press, 1982
Griffiths, Graham. ‘Fingering as Compositional Process: Stravinsky’s Sonata Sketchbook Revisited’. British Postgraduate Musicology Online (May 2005), available online at www.bpmonline.org.uk/bpm7/griffiths.html (last accessed 14 August 2012)
Grover, Stuart R.The World of Art Movement in Russia’. Russian Review 32.1 (1973), 28–42
Gutman, David. Prokofiev. London: Omnibus Press, 1990
Hamilton, Kenneth. ‘The Virtuoso Tradition’. In The Cambridge Companion to the Piano, ed. David Rowland. Cambridge: Cambridge University Press, 1998, pp. 57–74
Herzen, Alexander Ivanovich. Childhood, Youth and Exile (1853), trans. J. D. Duff. Oxford: Oxford University Press, 1994 [1923]
Herzen, Alexander IvanovichSobraniye sochineniy v tridtsati tomakh, 30 vols. Moscow, 1954–66
Herzen, Alexander IvanovichWho Is to Blame?, trans. Margaret Wettlin. Moscow: Progress Publishers, 1978
Heyworth, Peter (ed.). Conversations with Klemperer. London: Gollancz, 1973
Hill, Peter. Stravinsky: The Rite of Spring. Cambridge: Cambridge University Press, 2000
Hipkins, Edith J.How Chopin Played (Notes of A. J. Hipkins). London: J. M. Dent, 1937
Hofmann, Josef. Piano Playing with Piano Questions Answered by Josef Hofmann. Philadelphia: Theodore Presser, 1920
Homans, Jennifer. Apollo’s Angels: A History of Ballet. London: Granta, 2010
Hoover, Marjorie L.Meyerhold and His Set Designers. New York: Peter Lang, 1988
Horlacher, Gretchen. ‘Sketches and Superimposition in Stravinsky’s Symphony of Psalms’. Mitteilungen der Paul Sacher Stiftung12 (April 1999), 226
Hullah, Annette. Theodore Leschetizky. London: John Lane; The Bodley Head, 1906
Hyde, Martha M. ‘Stravinsky’s Neoclassicism’. In The Cambridge Companion to Stravinsky, ed. Jonathan Cross. Cambridge: Cambridge University Press, 2003, pp. 98–136
Ingarden, R.The Work of Music and The Problem of Its Identity (1928), trans. A. Czerniawski, ed. J. G. Harrell (Berkeley; Los Angeles: University of California Press, 1986
Iwaszkiewicz, Jarosław. Wiadomosci literackie (Warsawa) 46 (1924). In Viktor Varunts, Igor Stravinskiy: Publitsist i sobesednik. Moscow: Sovetskiy Kompositor, 1988
Jameson, Frederic. Postmodernism; or, The Cultural Logic of Late Capitalism. London: Verso, 1991
Jorgensen, H.Student Learning in Higher Instrumental Education: Who Is Responsible?’. British Journal of Music Education17.1 (2000), 6777
Joseph, Charles M.Stravinsky and Balanchine: A Journey of Invention. New Haven; London: Yale University Press, 2002
Joseph, Charles M.Stravinsky and the Piano. Ann Arbor: UMI Research Press, 1983
Joseph, Charles M.Stravinsky Inside Out. New Haven; London: Yale University Press, 2001
Joseph, Charles M.Stravinsky Remembered. New Haven; London: Yale University Press, 2001
Joseph, Charles M.Stravinsky’s Piano Scherzo (1902) in Perspective: A New Starting Point’. Musical Quarterly67.1 (January 1981), 8293
Kashperova, Leokadiya Aleksandrovna. ‘Vospominaniya’. In Muzïkal’noye nasledstvo: Sborniki po Istorii Muzikal’noi Kul’tury SSSR, Vol. II, Part II, ed. M. P. Alekseyev. Moscow: Muzïka, 1962, pp. 135–68
Kentner, Louis. Piano. London: Macdonald and Jane’s, 1976
Kerman, Joseph. Contemplating Music: Challenges to Musicology. Cambridge, MA: Harvard University Press, 1985
Kerman, JosephHow We Got into Analysis, and How to Get Out’. Critical Inquiry 7.2 (1980), 31131
Kermode, Frank. Pleasing Myself: From Beowulf to Philip Roth. London: Penguin, 2001
Koechlin, Charles. ‘Le “Retour à Bach”’. La Revue musicale8.1 (November 1926), 1–2
Köhler, Karl-Heinz. ‘Felix Mendelssohn(-Bartholdy)’. In The New Grove Dictionary of Music and Musicians, 20 vols., Vol. XII, ed. Stanley Sadie. London: Macmillan, 1980, pp. 134–59
Kramer, Jonathan D. ‘Discontinuity and Proportion in the Music of Stravinsky’. In Confronting Stravinsky: Man, Musician and Modernist, ed. Jann Pasler. Berkeley: University of California Press, 1986, pp. 174–94
Kundera, Milan. Testaments Betrayed, trans. Linda Asher. New York: HarperCollins, 1995
Kunin, Josif Filippowitsch. Nikolai Andrejewitsch Rimski-Korsakow. Berlin: Verlag Neue Musik Berlin, 1981
Kutateladze, L. and A. Gozenpude (eds.). F. Stravinskiy: Stat’i, pis’ma, vospominaniya. Leningrad: Muzïka, 1972
Leitch, Vincent B. (ed.). The Norton Anthology of Theory and Criticism. New York: W. W. Norton, 2001
Lenz, Wilhelm von. The Great Piano Virtuosos of Our Time from Personal Acquaintance, trans. Madeleine R. Baker. New York: Da Capo Press, 1973 [1899]
Levinski, Alexei. Meyerhold’s Biomechanics: A Workshop. Archive no. 10 (videotape). Exeter: Arts Documentation Unit, 1997
Lhevinne, Josef. ‘Good Tone Is Born in the Player’s Mind’, transcribed by Harriette Brower. The Musician 28.7 (July 1923), 7
Lourié, Arthur-Vincent. ‘La Sonate pour piano de Strawinsky’. La Revue musicale 6 (1925), 1004
McAllister, Rita. ‘Sergey (Sergeyevich) Prokofiev’. In The New Grove Dictionary of Music and Musicians, 20 vols., Vol. XV, ed. Stanley Sadie. London: Macmillan, 1980, pp. 288–301
MacDonald, Malcolm. ‘Preface’ to Igor Stravinsky, Pétrouchka: Revised 1947 Version. London: Boosey & Hawkes, 1997, p. v
McGraw, Cameron. Piano Duet Repertoire. Bloomington: Indiana University Press, 1981
Maguire, Robert A. and John E. Malmstad. ‘Translators’ Introduction’ to Andrei Bely, Petersburg (1916), trans. Robert A. Maguire and John E. Malmstad. London: Penguin, 1978, pp. vii–xxi
Maritain, Jacques. Art et scholastique. Paris: Art Catholique, 1920
Mason, Francis. I Remember Balanchine. New York: Doubleday, 1991
Meierkhold, V. E.Meyerhold on Theatre, ed. and trans. Edward Braun. London: Methuen, 1969 [1913]
Meierkhold, V. E.Perepiska 1896–1939. Moscow: Iskusstvo, 1976
Menuhin, Yehudi. Unfinished Journey. London: Future, 1976
Messing, Scott. Neoclassicism in Music: From the Genesis of the Concept through the Schoenberg/Stravinsky Polemic. Ann Arbor: UMI Research Press, 1988
Michelson, Kari. ‘Thomas Tellefsen’. In The New Grove Dictionary of Music and Musicians, 29 vols., Vol. XXV, ed. Stanley Sadie. London: Macmillan, 2001, p. 244
Milhaud, Darius. ‘Preface’ to Igor Stravinsky, Poetics of Music in the Form of Six Lessons. London: Geoffrey Cumberlege; Oxford University Press, 1947, pp. v–vii
Mills, Janet. ‘Working in Music: The Conservatoire Professor’. British Journal of Music Education21.2 (2004), 179–98
Moevs, Robert. ‘Mannerism and Stylistic Consistency in Stravinsky’. In Stravinsky (1882–1971): A Composers’ Memorial. Special double issue of Perspectives of New Music 9.2, 10.1 (1971), 92–103
Montagu-Nathan, M.Rimsky-Korsakoff. London: Constable, 1916
Moore, Jerrold Northrop. Edward Elgar: A Creative Life. Oxford: Oxford University Press, 1984
Museu Villa-Lobos. Villa-Lobos, sua obra. 2nd edn. Rio de Janeiro: MEC/DAC/Museu Villa-Lobos, 1972
Myaskovsky, N. Ya.Petrushka, Ballet by Igor Stravinsky’, Music59 (14 January 1912), 72–5
Myaskovsky, N. Ya.Sobraniye materialov, 2nd edn., 2 vols. Moscow: Muzïka, 1964
Nestyev, Israel V.Prokofiev, trans. Florence Jonas. Stanford: Stanford University Press, 1960
Neuhaus, Heinrich.The Art of Piano Playing, trans. K. A. Leibovitch. London: Barrie & Jenkins, 1973
Newcomb, Ethel. Leschetizky as I Knew Him. New York: Da Capo Press, 1967 [1921]
Ockleford, Adam.Relating Musical Structure and Content to Aesthetic Response: A Model and Analysis of Beethoven’s Piano Sonata Op. 110’. Journal of the Royal Musical Association130.1 (2005), 74–118
Oliver, Michael. Igor Stravinsky. London: Phaidon, 1995
Ortega y Gasset, José. The Dehumanization of Art, trans. Helene Weyl. Princeton: Princeton University Press, 1968
Paddison, Max. Adorno, Modernism and Mass Culture: Essays on Critical Theory and Music. London: Kahn & Averill, 2004
Paddison, MaxAdorno’s Aesthetic of Music. Cambridge: Cambridge University Press, 1993
Paddison, Max ‘Stravinsky as Devil: Adorno’s Three Critiques’. In The Cambridge Companion to Stravinsky, ed. Jonathan Cross. Cambridge: Cambridge University Press, 2003, pp. 192–202
Partch, Harry. Bitter Music: Collected Journals, Essays, Introductions and Librettos, ed. Thomas McGeary. Urbana; Chicago: University of Illinois Press, 2000
Pasler, Jann (ed.). Confronting Stravinsky: Man, Musician, and Modernist. Berkeley: University of California Press, 1986
Paulson, Ronald. Hogarth’s Graphic Works, 2 vols. New Haven; London: Yale University Press, 1970
Perlis, Vivian and Libby Van Cleve. Composers’ Voices from Ives to Ellington: An Oral History of American Music. New Haven; London: Yale University Press, 2005
Philip, Robert. ‘Pianists on Record in the Early Twentieth Century’. In The Cambridge Companion to the Piano, ed. David Rowland. Cambridge: Cambridge University Press, 1998, pp. 75–95
Philipp, Isidor. Complete School of Technic for the Piano. Philadelphia: Theodore Presser, 1908
Piston, Walter. Orchestration. London: Victor Gollancz, 1973
Pitches, Jonathan. Meyerhold. London: Routledge, 2003
Pleyel, Ignaz and Jan Ladislav Dussek. Méthode pour le pianoforte. Paris: Pleyel, 1797
Potochka, comtesse Angèle. Theodore Leschetizky: An Intimate Study of the Man and the Musician, trans. Geneviève Seymour Lincoln. New York: Century, 1903
Prentner, Marie. The Leschetizky Method, trans. M. De Kendler and A. Maddock. London: J. Curwen & Sons, 1903
Prokofiev, S. S.Autobiography, Articles, Reminiscences, ed. S. Shlifstein, trans. Rose Prokofieva. Moscow: Foreign Languages Publishing House, n.d. [c. 1954]
Pushkin, Aleksandr. Eugene Onegin: A Novel in Verse, trans. Vladimir Nabokov (1956), 2 vols., Vol. II. Commentary and Index. Princeton: Princeton University Press, 1990
Rayfield, Donald with Jeremy Hicks, Olga Makarova and Anna Pilkington (eds.). The Garnett Book of Russian Verse: A Treasury of Russian Poets from 1730 to 1996. London: Garnett Press, 2000
Reed, John. Ten Days that Shook the World. London: Penguin, 1977 [1919]
Rimsky-Korsakov, Andrey. ‘Chronicle of N. A. Rimsky-Korsakov’s Life during the Period Not Included in My Musical Life (September 1906–June 1908)’. In N. A. Rimsky-Korsakov, My Musical Life, ed. Carl Van Vechten, trans. Judah A. Joffe. London; Boston, MA: Faber and Faber, 1989 [1923], pp. 425–61
Rimsky-Korsakov, N. A.My Musical Life, ed. Carl Van Vechten, trans. Judah A. Joffe. London; Boston, MA: Faber and Faber, 1989 [1923]
Rimsky-Korsakov, N. A.Practical Manual of Harmony, trans. from the 12th Russian edn. by Joseph Achron, ed. Nicholas Hopkins. New York: Carl Fischer, 2005
Rimsky-Korsakov, N. A.Principles of Orchestration, ed. Maximilian Steinberg, trans. Edward Agate. New York: Dover, 1964 [1922]
Ritterman, Janet. ‘On Teaching Performance’. In Musical Performance: A Guide to Understanding, ed. John Rink. Cambridge: Cambridge University Press, 2002, pp. 75–88
Rogers, Lynne. ‘Varied Repetition and Stravinsky’s Compositional Process’. Mitteilungen der Paul Sacher Stiftung 7 (April 1994), 226
Rosenblum, Sandra P.Performance Practices in Classic Piano Music: Their Principles and Applications. Bloomington: Indiana University Press, 1988
Rosenstiel, Leonie. Nadia Boulanger: A Life in Music. New York:W. W. Norton, 1982
Rubinstein, Arthur. My Many Years. New York: Knopf, 1980
Rudnitsky, Konstantin. Meyerhold the Director, trans. George Petrov. Ann Arbor: Ardis, 1981
Sachs, Harvey. Arthur Rubinstein: A Life. London: Phoenix, 1997
Safonov, Vassily. New Formula for the Piano Teacher and the Piano Student, English edn. London: J. & W. Chester, 1915
Said, Edward W.On Late Style: Music and Literature against the Grain. London: Bloomsbury, 2007
Said, Edward W.Reflections on Exile and Other Essays. Cambridge, MA: Harvard University Press, 2003
Samson, Jim (ed.). The Cambridge History of Nineteenth-Century Music. Cambridge: Cambridge University Press, 2001
Said, Edward W.Chopin. Oxford: Oxford University Press, 1996
Sankt Peterburgskaya Konservatoriya. Dokumentï i Materialï, Vol. I. St. Petersburg: Forteks, 2002
Sargeant, Winthrop. ‘The Leaves of a Tree’, The New Yorker 38.47 (12 January 1963)
Schaeffner, André. Strawinsky. Paris: Les Editions Rieder, 1931
Scheijen, Sjeng. Diaghilev: A Life, trans. Jane Hedley-Prole and S. J. Leinbach. London: Profile, 2009
Schenker, Heinrich. The Art of Performance, ed. Heribert Esser, trans. Irene Schreier Scott. Oxford: Oxford University Press, 2000
Scherliess, Volker. ‘“Torniamo all’antico e sarà un progresso”: Creative Longing in Music’. In Canto d’Amore: Classicism in Modern Art and Music 1914–1935, ed. Gottfried Boehm, Ulrich Mosch and Katharina Schmidt. Basel: Kunstmuseum Basel; Paul Sacher Foundation, Basel, 1996, pp. 39–62
Schloezer, Boris de. ‘Chronique musicale’. La Nouvelle Revue française 178 (1 July 1928), 1048
Schmidt, Paul (ed.). Meyerhold at Work. Austin: University of Texas Press, 1980
Schnabel, Arthur. My Life and Music. Gerrard’s Cross: Colin Smythe, 1970
Scholes, Robert. Structuralism in Literature: An Introduction. New Haven: Yale University Press, 1974
Schonberg, H. C.The Great Pianists. London: Victor Gollancz, 1963
Shattuck, Roger. ‘The Devil’s Dance: Stravinsky’s Corporal Imagination’. In Confronting Stravinsky: Man, Musician, and Modernist, ed. Jann Pasler. Berkeley: University of California Press, 1986, pp. 82–8
Silver, Kenneth. Esprit de corps. Princeton: Princeton University Press, 1989
Sloboda, John A.The Musical Mind: The Cognitive Psychology of Music. Oxford: Clarendon Press, 1985
Small, Christopher. Musicking: The Meanings of Performing and Listening. Middletown, CT: Wesleyan University Press, 1998
Smirnov, Valeriy. Tvorcheskoye formirovaniye I. F. Stravinskovo. Leningrad: Muzïka, 1970
Souritz, Elizabeth. ‘The Young Balanchine in Russia’. Ballet Review18.2 (Summer 1990), 678
Souvtchinsky, Pierre. Un siècle de musique russe (1830–1930). Arles: Actes Sud; Association Pierre Souvtchinsky, 2004
Steinberg, Maximilian. ‘Editor’s Preface’ (1912) to Nikolay Rimsky-Korsakov, Principles of Orchestration (1922), ed. Maximilian Steinberg, trans. Edward Agate. New York: Dover, 1964, pp. vii–xii
Straus, Joseph N.Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition. Cambridge, MA: Harvard University Press, 1990
Straus, Joseph N. ‘Stravinsky the Serialist’. In The Cambridge Companion to Stravinsky, ed. Jonathan Cross. Cambridge: Cambridge University Press, 2003, pp. 149–74
Straus, Joseph N.Stravinsky’s Late Music. Cambridge: Cambridge University Press, 2001
Stravinsky, Igor. An Autobiography. New York: W. W. Norton, 1936
Stravinsky, IgorAn Autobiography (1903–1934). London; New York: Marion Boyars, 1990
Stravinsky, Igor ‘Ce que j’ai voulu exprimer dans Le Sacre du printemps’. Montjoie! 8 (29 May 1913). Reproduced in Igor Stravinsky: Le Sacre du printemps. Dossier de presse, ed. François Lesure. Geneva: Editions Minkoff, 1980, pp. 13–15
Stravinsky, IgorChronicle of My Life. London: Victor Gollancz, 1936
Stravinsky, IgorChroniques de ma vie. Paris: Editions Denoël, 1962
Stravinsky, Igor ‘The Composer’s View’. In Paul Griffiths, Igor Stravinsky: The Rake’s Progress. Cambridge Opera Handbooks. Cambridge: Cambridge University Press, 1982, pp. 2–4
‘Foreword’ to Edward E. Lowinsky, Tonality and Atonality in Sixteenth-Century Music. New York: Da Capo Press, 1961, pp. vii–ix
Stravinsky, Igor ‘Interview avec Serge Moreux de L’Intransigent pour la Radiodiffusion, Paris, 24 December 1938’. In Eric Walter White, Stravinsky: The Composer and His Works. London: Faber and Faber, 1966, Appendix A/7, pp. 585–7
Stravinsky, Igor ‘Love Music!’, trans. Sarah S. White. In Eric Walter White, Stravinsky: The Composer and His Works. London: Faber and Faber, 1966, Appendix A9, pp. 591–2
Stravinsky, IgorPoetics of Music in the Form of Six Lessons, trans. Arthur Knodel and Ingold Dahl. New York: Vintage, 1956 [1947]
Stravinsky, IgorPoétique musicale sous forme de six leçons, ed. Myriam Soumagnac. Paris: Harmonique Flammarion, 2000
Stravinsky, Igor ‘Pushkin: Poetry and Music’, trans. Gregory Golubeff (1940). In Eric Walter White, Stravinsky: The Composer and His Works. London: Faber and Faber, 1966, Appendix A8, pp. 588–91
Stravinsky, Igor ‘Quelques confidences sur la musique’. Conférence de M. Igor Starwinsky faite le 21 Novembre 1935. In Eric Walter White, Stravinsky: The Composer and His Works. London: Faber and Faber, 1966, Appendix A6, pp. 581–5
Stravinsky, IgorQuelques mots de mes dernières oeuvres’. Muzyka1.1 (1924), 15–17
Stravinsky, IgorThe Rite of Spring: Sketches 1911–1913. London: Boosey & Hawkes, 1969
Stravinsky, IgorThe Sleeping Beauty’, trans. Edwin Evans. In Eric Walter White, Stravinsky: The Composer and His Works. London: Faber and Faber, 1966, Appendix A1, pp. 573–4
Stravinsky, Igor ‘Some Ideas about My Octuor’. The Arts (January 1924). In Eric Walter White, Stravinsky: The Composer and His Works. London: Faber and Faber, 1966, Appendix A2, pp. 574–7
Stravinsky, IgorStrawinsky: Sein Nachlass, sein Bild. Basel: Kunstmuseum Basel; Paul Sacher Stiftung, 1984
Stravinsky, Igor and Robert Craft. Conversations with Igor Stravinsky. London: Faber and Faber, 1979
Stravinsky, Igor and Robert CraftDialogues. Berkeley and Los Angeles: University of California Press, 1982
Stravinsky, Igor and Robert CraftDialogues and a Diary. London: Faber and Faber, 1968
Stravinsky, Igor and Robert CraftExpositions and Developments. London: Faber and Faber, 1962
Stravinsky, Igor and Robert CraftMemories and Commentaries. London: Faber and Faber, 1960
Stravinsky, Igor and Robert CraftThemes and Conclusions. London: Faber and Faber, 1972
Stravinsky, Igor and Robert CraftThemes and Episodes. New York: Knopf, 1966
Stravinsky, Vera and Robert Craft. Stravinsky in Pictures and Documents. New York: Simon and Schuster, 1978
Strawinsky, Theodore. Catherine and Igor Stravinsky: A Family Album. London: Boosey & Hawkes, 1973
Strawinsky, ThéodoreLe Message d’Igor Strawinsky. Lausanne: Librairie F. Rouge, 1948
Taneyev, Sergey Ivanovich. Invertible Counterpoint in the Strict Style. Wellesley, MA: Branden, 1962
Taneyev, Sergey IvanovichPodvizhnoy kontrapunkt strogovo pis’ma. Leipzig and Moscow, 1909
Taneyev, Sergey IvanovichUcheniye o kanone, ed. V. M. Belyayev. Moscow, 1929
Tansman, Alexandre. Igor Stravinsky: The Man and His Music, trans. T. and C. Bleefield. New York: Putnam, 1949
Tappolet, Claude (ed.). Correspondance Ansermet–Strawinsky (1914–1967), 3 vols., Vol. II. Geneva: Georg, 1991
Taruskin, Richard. ‘Back to Whom? Neoclassicism as Ideology’. 19th-Century Music16.3 (1993), 286302
Taruskin, RichardDefining Russia Musically. Princeton: Princeton University Press, 1997
Taruskin, RichardOn Russian Music. Berkeley; Los Angeles; London: University of California Press, 2009
Taruskin, RichardThe Oxford History of Western Music, 5 vols., Vol. IV. New York: Oxford University Press, 2005
Taruskin, RichardRevising Revision’. Journal of the American Musicological Society46.1 (Spring 1993), 114–38
Taruskin, RichardRussian Folk Melodies in “The Rite of Spring”’. Journal of the American Musicological Society 33.3 (1980), 501–34 (p. 502)
Taruskin, RichardStravinsky and the Russian Traditions: A Biography of the Works through Mavra. Oxford: Oxford University Press, 1996
Taruskin, Richard ‘Stravinsky and Us’. In The Cambridge Companion to Stravinsky, ed. Jonathan Cross. Cambridge: Cambridge University Press, 2003, pp. 260–84
Timbrell, Charles. French Pianism: A Historical Perspective. Portland, OR: Amadeus Press, 1999
Tucker, Susannah. ‘Stravinsky and His Sketches: The Composing of Agon and Other Serial Works of the 1950s’. D.Phil. dissertation. University of Oxford, 1992
Turgenev, Ivan. Fathers and Sons, trans. Rosemary Edmonds. London: Penguin, 1975, Rudin, trans. Richard Freeborn. London: Penguin, 1975
Turgenev, IvanSketches from a Hunter’s Album, trans. Richard Freeborn. London: Penguin, 1990
Van den Toorn, Pieter C.The Music of Igor Stravinsky. New Haven: Yale University Press, 1983
Varunts, Viktor (ed.). I. F. Stravinskiy: Perepiska s russkimi korrespondentami. Materialï k biographi. 3 vols., Vol. I. Moscow: Sovyetskiy Kompozitor, 1998 [1977]
Varunts, Viktor. Igor Stravinskiy: Publitsist i Sobesednik. Moscow: Sovyetskiy Kompozitor, 1988
Varunts, ViktorStrawinsky protestiert …’. Mitteilungen der Paul Sacher Stiftung6 (March 1993), 357
Vlad, Roman. Stravinsky, trans. Frederic Fuller. Oxford: Oxford University Press, 1960
Volkov, Simon. Balanchine’s Tchaikovsky. London; Boston, MA: Faber and Faber, 1985
von Riemann, Oskar. Rachmaninoff’s Recollections as Told to Oskar von Riemann. London: George Allen & Unwin, 1934
Walsh, Stephen. Stravinsky: A Creative Spring. Russia and France 1882–1934. London: Pimlico, 2002
Walsh, StephenStravinsky: Oedipus Rex. Cambridge: Cambridge University Press, 1993
Walsh, StephenStravinsky: The Second Exile. France and America 1934–1971. London: Jonathan Cape, 2006
Walzer, Pierre-Olivier (ed.). Charles-Albert Cingria: Correspondance avec Igor Strawinsky. Lausanne: Editions L’Age d’Homme, 2001
Warrack, John. ‘Ludwig Deppe’. In The New Grove Dictionary of Music and Musicians, 20 vols., Vol. V, ed. Stanley Sadie. London: Macmillan, 1980, p. 380
Watkins, Glenn. Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to the Postmodernists. Cambridge, MA: Belknap Press, 1994
White, Eric Walter. Stravinsky: A Critical Survey. London: John Lehmann, 1947
White, Eric WalterStravinsky’s Sacrifice to Apollo. London: Leonard and Virginia Woolf, 1930
White, Eric WalterStravinsky: The Composer and His Works. London; Boston, MA: Faber and Faber, 1966
Whitehead, A. N.The Organisation of Thought. London: Williams and Northgate, 1917
Whittall, Arnold. Romantic Music. London: Thames and Hudson, 1987
Williams, Alastair. Constructing Musicology. Aldershot; Burlington: Ashgate, 2001
Yastrebtsev, V. V.Reminiscences of Rimsky-Korsakov, abridged and trans. F. Jonas. New York: Columbia University Press, 1985
Yastrebtsev, V. V.Rimsky-Korsakov: Vospominanya, 1886–1908, 2 vols., ed. A. V. Ossovsky. Leningrad: Musgiz, 1959–60
Zamyatin, Yevgeny Ivanovich. We, trans. Clarence Brown. London: Penguin, 1993

Metrics

Altmetric attention score

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Book summary page views

Total views: 0 *
Loading metrics...

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed.