Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-lnqnp Total loading time: 0 Render date: 2024-12-23T02:32:34.688Z Has data issue: false hasContentIssue false

Recommendations for Further Reading and Research

Published online by Cambridge University Press:  03 December 2020

Graham Griffiths
Affiliation:
City, University of London
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Stravinsky in Context , pp. 322 - 340
Publisher: Cambridge University Press
Print publication year: 2020

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Fyodor I. Stravinsky’s account books (raskhodnye knigi), 1881–93, 1897–1901, and family letters, published in I. F. Stravinsky: Perepiska s russkimi korrespondentami, 1882–1912, ed. Varunts, V. P. (Moscow: Kompozitor, 1988).Google Scholar
Walsh, Stephen, Stravinsky: A Creative Spring – Russia and France, 1882–1934 (London: Pimlico, 2002), pp. 357.Google Scholar
Ves’ Peterburg (1898). The 1898 edition of the annual City Directory.Google Scholar
Family correspondence and documents in the archive of the Russian State Library (RNB), St Petersburg, esp. f. 746 (Stravinsky F. I.), op. 1, no. 3, 4, 5, no. 81, no. 82, no. 83; f. 423 (Lbovsky A. N.), no. 1488, 1489, 1490.Google Scholar
School records in the Central State Historical Archive, St Petersburg (TsGIA), f. 174 (Second Gymnasium) and f. 171 (Gurevich Gymnasium).Google Scholar
For a fully annotated version of this chapter and an appendix in Russian and English of previously unpublished material from Central State Historical Archive, St Petersburg (TsGIA), see: http://oxford.academia.edu/CatrionaKelly.Google Scholar

Secondary Sources

Bradford, Morrow, ‘What Once Was Lost: Unfinding and Refinding Music History’, The Paris Review (6 October 2017). www.theparisreview.org/blog/2017/10/06/lost-unfinding-refinding-music-history/.Google Scholar
Braginskaya, Natalia, ‘New Light on the Fate of Some Early Works of Stravinsky: The Funeral Song Re-Discovery’, trans. Walsh, Stephen, AcM 87, no. 2 (December 2015), pp. 133–51.Google Scholar
Chailly, Riccardo, Lucerne Festival Orchestra. Stravinsky, Chant funèbre (world premiere recording); Le Sacre du printemps (CD, Decca Music Group Limited, 2017).Google Scholar
Брагинская, Наталия, ‘О неизвестном музыкальном мемориале Н. А. Римскому-Корсакову: “Погребальная песня” И. Ф. Стравинского – утраченная и обретенная’, in Триумф русской музыки. Римский-Корсаков – окно в мир. Сб. статей. Науч. редактор, сост. Л.О. Адэр. СПб., Санкт-Петербургский государственный музей театрального и музыкального искусства, 2016. С. 130–46. [Natalia Braginskaya, ‘On the Unknown Musical Memorial to N. A. Rimsky-Korsakov: The Funeral Song – Lost and Found’, in Lidia Ader (ed.), The Triumph of Russian Music: Rimsky-Korsakov – Window to the World (St Petersburg: St Petersburg State Museum of Theatre and Music, 2016), pp. 130–46.]Google Scholar
Walsh, Stephen, Stravinsky: A Creative Spring – Russia and France 1882–1934 (London: Pimlico, 2002), pp. 16–119.Google Scholar
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. Baker, T. (New York: Schirmer, 1902).Google Scholar
Cross, Jonathan, Igor Stravinsky (London: Reaktion, 2015).Google Scholar
Griffiths, Graham, Stravinsky’s Piano: Genesis of a Musical Language (Cambridge: Cambridge University Press, 2013), pp. 155–70, ‘A Leschetizkian Route to Pianism’.CrossRefGoogle Scholar
Kutateladze, Larisa and Gozenpud, Abram (eds), Fyodor Stravinsky: Stat’i, pis’ma, vospominaniya (‘Fyodor Stravinsky: Articles, Letters, Memoirs’) (Leningrad: Muzyka, 1972).Google Scholar
Philipp, Isidor, Complete School of Technic for the Piano (Philadelphia: Theodore Presser, 1908).Google Scholar
Stravinskaya, Kseniya Yu., O I. F. Stravinskom i ego blizkikh (‘About I. F. Stravinsky and His Relatives’, ed. Smirnov, V. V.) (Leningrad: Muzyka, 1978).Google Scholar
Stravinsky, Marie (ed.), Stravinsky Abécédaire (‘Stravinsky A–Z’) (Geneva: Editions La Baconière, 2018).Google Scholar
Stravinsky and Nabokov (dir. Roman Kroiter and Wolf Koenig, 1966), www.youtube.com/watch?v=bt-Z0cZhm70.Google Scholar
Stravinsky: Myths and Rituals (dir. Marina Vidor, 2016), www.philharmonia.co.uk/Stravinsky.Google Scholar
Stravinsky: Once, At a Border … (dir. Tony Palmer, Isolde Films, 1982).Google Scholar
‘Stravinsky Family Fund’, dir. Anastasia Kozachenko-Stravinsky, Moscow, www.stravinskyfund.com.Google Scholar
Fondation Igor Stravinsky (dir. Marie Stravinsky, Geneva), https://fondation-igor-stravinsky.org/en/.Google Scholar
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. Baker, T. (New York: Schirmer, 1902).Google Scholar
Cross, Jonathan, Igor Stravinsky (London: Reaktion, 2015).Google Scholar
Griffiths, Graham, Stravinsky’s Piano: Genesis of a Musical Language (Cambridge: Cambridge University Press, 2013), pp. 155–70, ‘A Leschetizkian Route to Pianism’.CrossRefGoogle Scholar
Kutateladze, Larisa and Gozenpud, Abram (eds), Fyodor Stravinsky: Stat’i, pis’ma, vospominaniya (‘Fyodor Stravinsky: Articles, Letters, Memoirs’) (Leningrad: Muzyka, 1972).Google Scholar
Philipp, Isidor, Complete School of Technic for the Piano (Philadelphia: Theodore Presser, 1908).Google Scholar
Stravinskaya, Kseniya Yu., O I. F. Stravinskom i ego blizkikh (‘About I. F. Stravinsky and His Relatives’, ed. Smirnov, V. V.) (Leningrad: Muzyka, 1978).Google Scholar
Stravinsky, Marie (ed.), Stravinsky Abécédaire (‘Stravinsky A–Z’) (Geneva: Editions La Baconière, 2018).Google Scholar
Stravinsky and Nabokov (dir. Roman Kroiter and Wolf Koenig, 1966), www.youtube.com/watch?v=bt-Z0cZhm70.Google Scholar
Stravinsky: Myths and Rituals (dir. Marina Vidor, 2016), www.philharmonia.co.uk/Stravinsky.Google Scholar
Stravinsky: Once, At a Border … (dir. Tony Palmer, Isolde Films, 1982).Google Scholar
‘Stravinsky Family Fund’, dir. Anastasia Kozachenko-Stravinsky, Moscow, www.stravinskyfund.com.Google Scholar
Fondation Igor Stravinsky (dir. Marie Stravinsky, Geneva), https://fondation-igor-stravinsky.org/en/.Google Scholar
Braginskaya, Natalia, ‘Rimsky-Korsakov–Stravinsky: “Nam ne dano predugadat’…”’, in Marina Rakhmanova (ed.), Nasledie N. A. Rimskogo-Korsakova v russkoy culture (Moscow: DEKA-VS, 2009), pp. 7784.Google Scholar
Braginskaya, Natalia, ‘New Light on the Fate of Some Early Works of Stravinsky: The “Funeral Song” Rediscovery’, Acta Musicologica 87, no. 2 (2015), pp. 133–51.Google Scholar
Римский-Корсаков (‘Rimsky-Korsakov’) (dir. Gennadiy Kazansky and Grigorij Roshal Lenfilm, 1953).Google Scholar
Historical Russian Archives: Evgeniy Mravinsky Edition (Works by Stravinsky, Liadov, Glazunov, Steinberg, Scriabin, Tchaikovsky, Glinka, Rimsky-Korsakov, etc.) (CD, Brilliant Classics, 2008), www.arkivmusic.com/classical/album.jsp?album_id=205577.Google Scholar
Rimsky-Korsakov, Nikolai, My Musical Life, trans. from the 5th revised Russian edition by Joffe, Judah A., ed. with an introduction by van Vechten, Carl (New York: Knopf; London: Secker and Warburg, 1942), pp. xliv. 480.Google Scholar
Song of Scheherazade (dir. Walter Reisch, Universal International Pictures, 1947).Google Scholar
Taruskin, Richard, ‘Catching Up with Rimsky-Korsakov’, Music Theory Spectrum 33, no. 2 (2011), pp. 169–85.CrossRefGoogle Scholar
Triumf russkoy muzyki: Rimsky-Korsakov – okno v mir. Sbornik statej (Saint Petersburg: Saint Petersburg Museum of Theatre and Music, 2016).Google Scholar
Andriessen, Louis and Schönberger, Elmer, The Apollonian Clockwork (Amsterdam: Amsterdam Academic Archive 2006).Google Scholar
Cross, Jonathan, The Stravinsky Legacy (Cambridge: Cambridge University Press, 1998).Google Scholar
Cross, Jonathan, (ed.), The Cambridge Companion to Stravinsky (Cambridge: Cambridge University Press, 2006).Google Scholar
Fallon, Robert, ‘Knowledge and Subjectivity in Maritain, Stravinsky and Messiaen’, in Ollivant, Douglas A. (ed.), Maritain and the Many Ways of Knowing (Washington, DC: American Maritain Association 2002), pp. 284302.Google Scholar
Joseph, Charles M., Stravinsky Inside Out (New Haven, CT and London: Yale, 2001).Google Scholar
McGuckin, John Anthony, The Orthodox Church (Chichester: Wiley-Blackwell 2010).Google Scholar
Maritain, Jacques, Art and Scholasticism and the Frontiers of Poetry, trans. Evans, Joseph W. (New York: Charles Scribner’s Sons 1962).Google Scholar
Meyendorff, John, Byzantine Theology (New York: Fordham University Press 1979).Google Scholar
Moody, Ivan, ‘The Seraphim Above: Some Perspectives on Theology in Orthodox Church Music’, in Religions (2015), pp. 350–64.Google Scholar
Taruskin, Richard, ‘Is There a ‘Russia Abroad’ in Music?’, in Zuk, Patrick and Frolova-Walker, Marina (eds), Russian Music Since 1917 (Oxford: The British Academy 2017), pp. 307–29.Google Scholar
Ware, Timothy, The Orthodox Church (Milton Keynes: Penguin, 3rd edn, 2015).Google Scholar
Sergei Bondarchuk (dir.) Voina i Mir (‘War and Peace’) (1966–7).Google Scholar
Chamberlain, Lesley, Motherland: A Philosophical History of Russia (London: Atlantic Books, 2004).Google Scholar
Figses, Orlando, Natasha’s Dream: A Cultural History of Russia (London: Allen Lane, 2002).Google Scholar
Jakim, Boris and Bird, Robert (ed. and trans.), On Spiritual Unity: A Slavophile Reader (Hudson, NY: Lindisfarne Books, 1999).Google Scholar
Musorgsky, Modest, Pictures at an Exhibition (1874), suite for piano.Google Scholar
Tarkovsky, Andrei (dir.) Andrei Rublev (1969).Google Scholar
Tertz, Abram and Sinyavsky, Andrey, A Voice from the Chorus (London: Collins, 1976).Google Scholar
Williams, Rowan, Dostoevsky: Language, Faith, and Fiction (London: Continuum, 2008).Google Scholar
Archer, K., Roerich, East and West (Bournemouth: Parkstone, 1999).Google Scholar
Belyi, A., Simvolizm (Moscow: Musaget, 1910).Google Scholar
Bowlt, J., Moscow and St. Petersburg 1900–1920: Art, Life and Culture of the Russian Silver Age (New York: Vendome, 2008).Google Scholar
Bowlt, J., Giordano, N. Rosticher and Tregulova, Z. (eds), Etonne-moi! Sergei Diaghilev et Les Ballets Russes (‘A Feast of Wonders. Sergei Diaghilev and the Ballets Russes’) (Monaco: Nouveau Musée de Monte Carlo and the State Tretyakov Gallery, M, 2009–10).Google Scholar
Buckle, R., Diaghilev (London: Weidenfeld and Nicolson, 1979).Google Scholar
Decter, J., Nicholas Roerich (Rochester, VT; Park Street, 1989).Google Scholar
Garafola, L., Diaghilev’s Ballets Russes (New York: Oxford University Press, 1989).Google Scholar
Kennedy, J., The ‘Mir iskusstva’ Group and Russian Art, 1898–1912 (New York: Garland, 1977).Google Scholar
Pritchard, J. (ed.), Diaghilev and the Golden Age of the Ballets Russes 1909–1929 (London: Catalogue of exhibition at the Victoria and Albert Museum, 2010–11).Google Scholar
Scheijen, S., Diaghilev: A Life (Amsterdam: Prometheus; London: Profile, 2009).Google Scholar
Aperçu de l’Exposition Universelle de Paris 1900 (dir. Marc Allegret, Films du Jeudi, 1983), www.youtube.com/watch?v=lasm1gGmck4.Google Scholar
Born, Georgina, Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (Berkeley and Los Angeles: University of California Press, 1995).Google Scholar
Caddy, Davinia, The Ballets Russes and Beyond: Music and Dance in Belle-Époque Paris (Cambridge: Cambridge University Press, 2012).CrossRefGoogle Scholar
Kreimeier, Klaus and Ligensa, Annemone, Film 1900: Technology, Perception, Culture (Indianapolis: Indiana University Press, 2009).Google Scholar
McAuliffe, Mary, Twilight of the Belle Époque: The Paris of Picasso, Stravinsky, Proust, Renault, Marie Curie, Gertrude Stein, and Their Friends through the Great War (Lanham, MD: Rowman and Littlefield, 2014).Google Scholar
Rattle, Simon and the City of Birmingham Symphony Orchestra, Stravinsky, The Rite of Spring, Petrushka, The Firebird, Apollo, (CD, EMI Classics 967711-2, 2009).Google Scholar
Shattuck, Roger, The Banquet Years: The Origins of the Avant-Garde in France, 1885 to WW1 (New York: Vintage, 1968).Google Scholar
Zola, Émile, Le Ventre du Paris (Paris: Charpentier et Cie, 1873).Google Scholar
Cross, Jonathan, Igor Stravinsky (London: Reaktion, 2015).Google Scholar
Davenport-Hayes, Richard, A Night at the Majestic: Proust and the Great Modernist Dinner Party of 1922 (London: Faber and Faber, 2006).Google Scholar
Davis, Mary, Classic Chic: Music, Fashion and Modernism (Berkeley: University of California Press, 2006).Google Scholar
Garafola, Lynn, Diaghilev’s Ballets Russes (New York: Oxford University Press, 1989).Google Scholar
Joseph, Charles M., Stravinsky and Balanchine: A Journey of Invention (New Haven: Yale University Press, 2002).Google Scholar
McAuliffe, Mary Sperling, When Paris Sizzled: The 1920s Paris of Hemingway, Chanel, Cocteau, Cole Porter, Josephine Baker, and their Friends (Lanham, MD: Rowan and Littlefield, 2016).Google Scholar
Albright, Daniel, Stravinsky: The Music Box and the Nightingale, (New York: Gordon and Breach, 1989).Google Scholar
Andriessen, Louis and Schönberger, Elmer, The Apollonian Clockwork: On Stravinsky, trans. Hamburg, Jeff (Amsterdam: Amsterdam University Press; Amsterdam Academic Archive, 2006 [1983/9]).Google Scholar
Griffiths, Graham, Stravinsky’s Piano: Genesis of a Musical Language (Cambridge: Cambridge University Press, 2013), pp. 131–55 ‘Stravinsky’s piano workshop’.Google Scholar
Ramuz, C. F., Souvenirs sur Igor Stravinsky (Lausanne: Mermod, 1929).Google Scholar
Rimsky-Korsakov, N.A., Principles of Orchestration, ed. Steinberg, Maximilian, trans. Agate, Edward (New York: Dover, 1964 [1922]).Google Scholar
Stravinsky Plays Stravinsky: Masters of the Piano Roll, vol. 7 (New York: Duo-Art, 1925).Google Scholar
Stravinsky, Vera and Craft, Robert, Stravinsky in Pictures and Documents (New York: Simon and Schuster, 1978).Google Scholar
Strawinsky: Sein Nachlass, sein Bild (Basel: Kunstmuseum Basel, Paul Sacher Stiftung, 1984).Google Scholar
Trubetskoy, Prince, Yevropa i chelovechestvo (‘Europe and Humanity’) (Sofia: Russian-Bulgarian Publishing House, 1920).Google Scholar
Watkins, Glenn, Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to the Postmodernists (Cambridge, MA: Belknap Press, 1994).CrossRefGoogle Scholar
Antonini, Bruno, Straniamento e invenzione nel Rake’s Progress di Igor Stravinskij (Florence: Passigli Editori, 1990).Google Scholar
Boucourechliev, André, ‘Urbi Venetiae’, in Boucourechliev, André, Stravinsky (Paris: Fayard, 1982); English trans. Martin Cooper (New York: Holmes & Meier, 1987); Italian trans. Lorenzo Pellizzari (Milan: Rusconi, 1984), pp. 310–44.Google Scholar
Mila, Massimo, Compagno Strawinsky (Torino: Einaudi, 1983).Google Scholar
Smyth, David H., ‘Stravinsky as Serialist: The Sketches for Threni’, Music Theory Spectrum 22, no. 2 (Autumn, 2000), pp. 205–24.Google Scholar
Stravinsky, Igor, Sacred Works, Columbia Symphony Orchestra, conducted by the composer, recorded 5–6 January 1958 (CD, Sony Classical SM2K 46301, Igor Stravinsky Edition, vol. XI, 1991).Google Scholar
Stravinsky, Igor, The Rake’s Progress, London Philharmonic Orchestra, conducted by Vladimir Jurowski (DVD, Glyndebourne Festival, 2010, Opus Arte OA1062D, 2011).Google Scholar
Stravinsky, Igor, Threni and Requiem Canticles, Collegium Vocale Gent and the Royal Flemish Philharmonic Orchestra, conducted by Philippe Herreweghe (Phi LPH 020, 2016).Google Scholar
Vlad, Roman, Stravinsky (Oxford: Oxford University Press, 3rd edn, 1985).Google Scholar
Lourié, Arthur, ‘La Sonate pour piano de Strawinsky’, La Revue Musicale 6, no. 10 (1 August 1925), pp. 100–4.Google Scholar
Lourié, Arthur, ‘Muzïka Stravinskogo’, Vyorstï, 1 (1926), pp. 119–35.Google Scholar
Lourié, Arthur, ‘Oedipus Rex de Strawinsky’, La Revue Musicale 8, no. 8 (1 June 1927), pp. 240–53.Google Scholar
Lourié, Arthur, ‘A propos de l’Apollon d’Igor Strawinsky’, Musique 1 (1928), pp. 117–19.Google Scholar
Lourié, Arthur, ‘Dve operï Stravinskogo’, Vyorstï 3 (1928), pp. 225–7.Google Scholar
Lourié, Arthur, ‘Krizis Iskusstva’, Yevraziya 4 (1928), p. 8.Google Scholar
Lourié, Arthur, ‘Neogothic and Neoclassic’, Modern Music 5, no. 3 (March–April 1928), pp. 38.Google Scholar
Lourié, Arthur, ‘Strawinsky à Bruxelles’, Cahiers de Belgique 3 (December 1930), pp. 330–2.Google Scholar
Lourié, Arthur, ‘Le Capriccio de Strawinsky’, La Revue Musicale 11, no. 103 (April 1930), pp. 353–5.Google Scholar
Lourié, Arthur, ‘The Russian School’, in The Musical Quarterly 18, no. 4 (1 October 1932), pp. 519–29.Google Scholar
Straus, Joseph N., ‘Representing the Extraordinary Body: Musical Modernism’s Aesthetic of Disability’, in Howe, Blake, Jensen, Stephanie-Moulton, Neil Lerner, and Straus, Joseph (eds), The Oxford Handbook of Disability Studies in Music (New York: Oxford University Press, 2016), pp. 729–55.Google Scholar
Carr, Maureen, ‘Igor Stravinsky et Charles-Albert Cingria’, in de Courten, Maryyke and Jakubek, Doris (eds), Erudition et liberté: L’univers de Charles-Albert Cingria: Actes du colloque de l’Université de Lausanne (Paris: Gallimard, 2000), 259–80.Google Scholar
Carr, Maureen, (ed.), Stravinsky’s Histoire du soldat: A Facsimile Edition of the Musical Sketches (Middleton, WI: A-R Editions, 2005).Google Scholar
Carr, Maureen, (ed.), Stravinsky’s Pulcinella: A Facsimile Edition of the Musical Sketches (Middleton, WI: A-R Editions, 2010).Google Scholar
Keller, Hans, ‘In Memoriam Dylan Thomas: Stravinsky’s Schoenbergian Technique’, Tempo 35 (Spring 1955), pp. 1320.CrossRefGoogle Scholar
Stravinsky, Igor, The Soldier’s Tale, Jean Cocteau, Peter Ustinov, Jean-Marie Fertev, Anne Tonietti, cond. Igor Markevitch (vinyl LP, Philips 6580 136; reissue, Universo Series, UK).Google Scholar
Strawinsky: Sein Nachlass, Sein Bild (Basel: Kunstmuseum Basel, Paul Sacher Stiftung, 1984).Google Scholar
Thomas, Dylan, recitation of ‘Do not go gentle into that good night’, www.youtube.com/watch?v=g2cgcx-GJTQ.Google Scholar
Bataille, Georges, ‘Le gros orteil’, Documents no. 6 (December 1929), pp. 297–302, in Hollier, Denis (ed.) Œuvres complètes, vol. 1 (Paris: Gallimard, 1970), pp. 200–4.Google Scholar
Foucault, Michel, ‘Qu’est-ce qu’un auteur?’ (‘What Is an Author?’) (1969), in Dits et écrits, vol. 1 (Paris: Gallimard, 1994), pp. 789821.Google Scholar
Gérard, Genette, Palimpsestes: La littérature au second degré (Paris: Seuil, 1982/92).Google Scholar
Kundera, Milan, Les testaments trahis (Paris: Gallimard, 1993), particularly part 3, ‘Improvisation en hommage à Stravinski’, pp. 69–119.Google Scholar
Lejeune, Philippe, Les brouillons de soi (Paris: Seuil, 1998).Google Scholar
Jeanice, Brooks, ‘Noble et grande servante de la musique: Telling the Story of Nadia Boulanger’s Conducting Career’, The Journal of Musicology 14, no. 1 (1996), pp. 92116.Google Scholar
Jeanice, Brooks, ‘Collecting Past and Present: Music History and Musical Performance at Dumbarton Oaks’, in Carder, James N. (ed.), A Home of the Humanities: The Collecting and Patronage of Mildred and Robert Woods Bliss (Cambridge, MA: Harvard University Press, 2010), pp. 7591.Google Scholar
Kimberly, Francis, ‘A Most Unsuccessful Project: Nadia Boulanger, Igor Stravinsky, and the Symphony in C, 1939–1945’, The Musical Quarterly 94 (2011), pp. 234–70.Google Scholar
Kimberly, Francis, Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon (New York and Oxford: Oxford University Press, 2015).Google Scholar
Tamara, Levitz, ‘Igor the Angeleno: The Mexican Connection’, in Levitz, Tamara (ed.), Stravinsky and His World (Princeton, New Jersey: Princeton University Press, 2013), pp. 141–76.Google Scholar
Crawford, Dorothy Lamb, Evenings On and Off the Roof: Pioneering Concerts in Los Angeles 1939–1971 (Berkeley: University of California Press, 1995).Google Scholar
Krenek, Ernst, Über Neue Musik: Sechs Vorlesungen zur Einführung in die theoretischen Grundlagen (Wien: Ringbuchhandlung, 1937).Google Scholar
Krenek, Ernst, Music Here and Now, trans. Fles, Barthold (New York: Norton, 1939; reprinted New York: Russell and Russell, 1967).Google Scholar
Krenek, Ernst, Horizons Circled: Reflections on My Music (Berkeley: University of California Press, 1974).CrossRefGoogle Scholar
Ledermann, Minna, Stravinsky in the Theatre (London: Peter Owen, 1951).Google Scholar
Shreffler, Anne C., ‘Politische und unpolitische Betrachtungen zu Strawinskys Movements für Klavier und Orchester (1959)’, in Bleek, Thomas and Bork, Camilla (eds), Musikalische Analyse und kulturgeschichtliche Kontextualisierung: Für Reinhold Brinkmann – Kolloquium … zur Feier des 70. Geburtstags von Reinhold Brinkmann (Stuttgart: Franz Steiner Verlag, 2010), pp. 137–53.Google Scholar
Stadlen, Peter, ‘Serialism Reconsidered’, The Score 22 (1958), pp. 1227.Google Scholar
Webern, Anton, The Complete Music Recorded under the Direction of Robert Craft (four LPs, Columbia Masterworks, 1957).Google Scholar
Jonathan, Cross, ‘Stravinsky’s Theatres’, in Cross, Jonathan (ed.), The Cambridge Companion to Stravinsky (Cambridge: Cambridge University Press, 2003), pp. 137–48.Google Scholar
Julien, Ségol, ‘Œdipus rex, ou l’œuvre au neutre: un dispositif anti-fictionnel’, in Locanto, Massimiliano (ed.), Igor Stravinsky: Sounds and Gestures of Modernism (Turnhout: Brepols, 2014), pp. 363–81.Google Scholar
Gianfranco, Vinay, ‘Le Geste ou le mot: Stravinsky ou le refus de la bigamie en musique’, Les Cahiers du CIREM (1993), nn. 26–7, (Special issue: Musique et geste), pp. 91–6.Google Scholar
Albright, Daniel, Stravinsky: The Music Box and the Nightingale (New York: Gordon and Breach, 1989).Google Scholar
Drushkin, Mikhail, Igor Stravinsky: His Life, Works and Views, trans. Cooper, Martin (Cambridge: Cambridge University Press, 1983), in particular chapter 6, ‘The Theatre’.Google Scholar
Lederman, Minna (ed.), Stravinsky in the Theatre (New York: Da Capo, 1949), with writings, memories and essays by J. Cocteau, E. Vuillermoz, J. Rivière, André Levinson, C. F. Ramuz, Arthur Berger, Ingolf Dahl, George Balanchine, Robert Craft, Nicolas Nabokov, Ernest Ansermet, Aaron Copland, Alexei Haïeff, Carlos Chavez, Pierre Monteux, Walter Piston, Darius Milhaud, Leonard Bernstein, Vittorio Rieti, William Schumann, Lincoln Kirstein and Igor Stravinsky.Google Scholar
Vinay, Gianfranco, Stravinsky Neoclassico: L’invenzione della memoria nel 900 musicale (Venezia: Marsilio, 1987), in particular chapters 4 (‘La tetralogia greca’) and 5 (‘La carriera di un operista’).Google Scholar
Le Rossignol, a film by Christian Chaudet, music by Igor Stravinsky, with N. Dessay, H. Simcic, M. McLaughlin, V. Urmana, V. Grivnov, A. Schagidullin, L. Naouri, M. Mikhailov (DVD, EMI – Virgin Classic 0724354424298, 2005).Google Scholar
Igor Stravinsky, The Rake’s Progress, B. Terfel, I. Bostridge, D. York, A. S. Otter, London Symphony Orchestra, Monteverdi Choir, cond. J. E. Gardiner (2 CD (DDD), Deutsche Grammophon 289 459 648-2, 1999).Google Scholar
Igor Stravinsky, Oedipus rex, with J. Norman, P. Langridge, B. Terfel, Min Tanaka, Tokyo Opera Singers, Shinys-Kai Chorus, Saito Kinen Orchestra, cond. Seiji Ozawa, dir. J. Taymor (DVD, Philips, CAMI Video and NHK, 2005).Google Scholar
Jonathan, Cross, ‘Stravinsky’s Theatres’, in Cross, Jonathan (ed.), The Cambridge Companion to Stravinsky (Cambridge: Cambridge University Press, 2003), pp. 137–48.Google Scholar
Julien, Ségol, ‘Œdipus rex, ou l’œuvre au neutre: un dispositif anti-fictionnel’, in Locanto, Massimiliano (ed.), Igor Stravinsky: Sounds and Gestures of Modernism (Turnhout: Brepols, 2014), pp. 363–81.Google Scholar
Gianfranco, Vinay, ‘Le Geste ou le mot: Stravinsky ou le refus de la bigamie en musique’, Les Cahiers du CIREM (1993), nn. 26–7, (Special issue: Musique et geste), pp. 91–6.Google Scholar
Albright, Daniel, Stravinsky: The Music Box and the Nightingale (New York: Gordon and Breach, 1989).Google Scholar
Drushkin, Mikhail, Igor Stravinsky: His Life, Works and Views, trans. Cooper, Martin (Cambridge: Cambridge University Press, 1983), in particular chapter 6, ‘The Theatre’.Google Scholar
Lederman, Minna (ed.), Stravinsky in the Theatre (New York: Da Capo, 1949), with writings, memories and essays by J. Cocteau, E. Vuillermoz, J. Rivière, André Levinson, C. F. Ramuz, Arthur Berger, Ingolf Dahl, George Balanchine, Robert Craft, Nicolas Nabokov, Ernest Ansermet, Aaron Copland, Alexei Haïeff, Carlos Chavez, Pierre Monteux, Walter Piston, Darius Milhaud, Leonard Bernstein, Vittorio Rieti, William Schumann, Lincoln Kirstein and Igor Stravinsky.Google Scholar
Vinay, Gianfranco, Stravinsky Neoclassico: L’invenzione della memoria nel 900 musicale (Venezia: Marsilio, 1987), in particular chapters 4 (‘La tetralogia greca’) and 5 (‘La carriera di un operista’).Google Scholar
Le Rossignol, a film by Christian Chaudet, music by Igor Stravinsky, with N. Dessay, H. Simcic, M. McLaughlin, V. Urmana, V. Grivnov, A. Schagidullin, L. Naouri, M. Mikhailov (DVD, EMI – Virgin Classic 0724354424298, 2005).Google Scholar
Igor Stravinsky, The Rake’s Progress, B. Terfel, I. Bostridge, D. York, A. S. Otter, London Symphony Orchestra, Monteverdi Choir, cond. J. E. Gardiner (2 CD (DDD), Deutsche Grammophon 289 459 648-2, 1999).Google Scholar
Igor Stravinsky, Oedipus rex, with J. Norman, P. Langridge, B. Terfel, Min Tanaka, Tokyo Opera Singers, Shinys-Kai Chorus, Saito Kinen Orchestra, cond. Seiji Ozawa, dir. J. Taymor (DVD, Philips, CAMI Video and NHK, 2005).Google Scholar
Balanchine, George, Agon, complete ballet (film, 1960), www.youtube.com/watch?v=QNTvHRlorQw.Google Scholar
Balanchine, George, Divertimento from ‘Le Baiser de la fée’, duet for Patricia McBride and Helgi Tomasson (film, 1973), www.youtube.com/watch?v=raQ06–0OEjQ.Google Scholar
Jordan, Stephanie, Moving Music: Dialogues with Music in Twentieth-Century Ballet (London: Dance Books, 2000).Google Scholar
Jordan, Stephanie, Music Dances: Balanchine Choreographs Stravinsky (New York: The George Balanchine Foundation, 2002). This is a DVD analytical documentary involving New York City Ballet and covering several clips of Agon and Movements for Piano and Orchestra. Purchase of the DVD is restricted to non-profit educational institutions.Google Scholar
Jordan, Stephanie, Stravinsky Dances: Re-visions across a Century (Alton: Dance Books, 2007).Google Scholar
Stephanie Jordan and Larraine Nicholas, ‘Stravinsky the Global Dancer’, internet database, over 1,200 annotated entries on dances to Stravinsky’s music, including an analytical introduction (2003), http://urweb.roehampton.ac.uk/stravinskyGoogle Scholar
Joseph, Charles M., Stravinsky and Balanchine: A Journey of Invention (New Haven, CT and London: Yale University Press, 2002).Google Scholar
Baron, John. H., Chamber Music: A Research and Information Guide (Abingdon: Routledge, 3rd edn, 2010).Google Scholar
Cone, Edward T., ‘Stravinsky: The Progress of a Method’, Perspectives of New Music 1, no. 1 (Autumn, 1962), pp. 1826.Google Scholar
Roberts, Bill et al., Fantasia (film, Walt Disney Productions, 1940).Google Scholar
Schenker, Heinrich, The Masterwork in Music: A Yearbook, vol. 2 (Das Meisterwerk in der Musik, 1926), ed. Drabkin, William, trans. Bent, Ian et al. (Cambridge: Cambridge University Press, 1996).Google Scholar
Straus, Joseph N., Stravinsky’s Late Music (Cambridge: Cambridge University Press, 2001).Google Scholar
Igor Stravinsky, Chamber Works and Rarities, European Soloists Ensemble, Vladimir Ashkenazy et al. (CD, Decca, cat. 4738102, 2003).Google Scholar
Wilson, Andy (dir.), Riot at the Rite (film documentary, BBC, 2005), www.youtube.com/watch?v=JcZ7lfdhVQw.Google Scholar
Baxter, Hannah, ‘The Effect of Stravinsky’s Ballets on the Role of the Conductor’ (PhD thesis, University of Sussex, 2014).Google Scholar
Boulez, Pierre, Stocktakings from an Apprenticeship (New York: Oxford University Press, 1966, trans. 1991).Google Scholar
Pierre Boulez: Conductor (DVD, Classic Archive, Medici Arts, 2008).Google Scholar
Cook, Nicholas, ‘Stravinsky Conducts Stravinsky’, in Cross, J. (ed.), The Cambridge Companion to Stravinsky (Cambridge: Cambridge University Press, 2003), pp. 176–91.Google Scholar
Gergiev, Valery conducting Les Noces in concert performance with the London Symphony Orchestra, www.youtube.com/watch?v=QAXanZ1B7wI (accessed 23 February 2019).Google Scholar
Hyde, Martha, ‘Stravinsky’s Neoclassicism’, in Cross, J. (ed.), The Cambridge Companion to Stravinsky (Cambridge: Cambridge University Press, 2003), pp. 98136.Google Scholar
Joseph, Charles, Stravinsky and Balanchine: A Journey of Invention (New Haven, CT: Yale University Press, 2002).Google Scholar
Kennard, David and Saffa, Joan, Keeping Score, Revolutions in Music: Stravinsky’s Rite of Spring (DVD, 2006).Google Scholar
MacGibbon, Ross, The Firebird and Les Noces (DVD, BBC Classical Music Production, Opus Arte, 2001).Google Scholar
Taruskin, Richard, A Myth of the Twentieth Century: The Rite of Spring, the Tradition of the New, and ‘The Music Itself’, in Modernism/Modernity 2, no. 1 (1995b), pp. 126.Google Scholar
Barolsky, Daniel and Martens, Peter, ‘Rendering the Prosaic Persuasive: Gould and the Performance of Bach’s C-minor Prelude (WTC I)’, Music Theory Online 18, no. 1 (2012), http://mtosmt.org/issues/mto.12.18.1/mto.12.18.1.barolsky_martens.php.CrossRefGoogle Scholar
Cook, Nicholas, ‘Introduction: Refocusing Theory’, Music Theory Online 18, no. 1 (2012), http://mtosmt.org/issues/mto.12.18.1/mto.12.18.1.barolsky_martens.php.Google Scholar
Cook, Nicholas, Beyond the Score: Music as Performance (Oxford: Oxford University Press, 2013).Google Scholar
Fink, Robert, ‘“Rigoroso (= 126)”: The Rite of Spring and the Forging of a Modernist Performing Style’, Journal of the American Musicological Society 52, no. 2 (1999), pp. 299362.CrossRefGoogle Scholar
Hyde, Martha, ‘Stravinsky’s Neoclassicism’, in Cross, Jonathan (ed.), The Cambridge Companion to Stravinsky (Cambridge: Cambridge University Press, 2003), pp. 98136.Google Scholar
Leech-Wilkinson, Daniel, The Changing Sound of Music: Approaches to Studying Recorded Musical Performances (London: CHARM, 2009), www.charm.rhul.ac.uk/studies/chapters/intro.html.Google Scholar
Stravinsky, Igor, ‘The Performance of Music’, in Poetics of Music: In the Form of Six Lessons (Cambridge, MA and London: Harvard University Press, 1942), 121–35.Google Scholar
Francis, Kimberley A., Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon (New York: Oxford University Press, 2015).Google Scholar
McFarland, Mark, ‘Stravinsky and the Pianola: A Relationship Reconsidered’, Revue de Musicologie 97, no. 1 (2011), pp. 85109.Google Scholar
Stuart, Philip, Igor Stravinsky: The Composer in the Recording Studio, vol. 45, Discographies (Westport, CT: Greenwood Press, Discography, 1991).Google Scholar
Stravinsky, Igor, Chamber Works and Rarities, cond. Ashkenazy, Vladimir and Dutoit, Charles, European Chamber Soloists, Sinfonietta de Montréal, recorded between May 1962 and December 1994 in several locations: Geneva, Cleveland, Montréal, Swansea, London (CD, Double Decca 473 810-2, 1989).Google Scholar
Stravinsky, Igor, The Firebird, Jeu de cartes, cond. Esa-Pekka Salonen, Philharmonia Orchestra, recorded in Watford Tower Hall, 1988 (CD, Sony Classical 88985369592 (2), 1989).Google Scholar
Stravinsky, Igor, Histoire du Soldat (suite), Pulcinella (suite), cond. Stravinsky, Columbia Symphony, Columbia Chamber Ensemble, recorded 10–13 February 1961, Histoire du Soldat, and 25 August 1965, Pulcinella, Legion Hall, Hollywood, California, originally released 1968 (CD, Sony Classical sx9k64136, 1999).Google Scholar
Stravinsky, Igor, Symphony of Psalms, Symphony in C, Symphony in Three Movements, cond. Simon Rattle, Berliner Philharmoniker, Rundfunkchor Berlin, recorded in concert, 20–2 September 2007 in Philharmonie, Berlin (CD, Warner Classics 2 076330, 2008).Google Scholar
Stravinsky, Igor, Oedipus Rex, Les Noces, cond. Valery Gergiev, Mariinsky Orchestra and Chorus, soloists, recorded 28–31 December 2009 in the Concert Hall of the Mariinsky Theatre, St Petersburg, Russia (CD, Mariinsky SACD MAR0510, 2010).Google Scholar
Stravinsky, Igor, Petrouchka, Le Baiser de la Fée (complete), cond. Yevgeny Mravinsky, Leningrad Philharmonic Orchestra, recorded 14 May 1961, Petrouchka, and 18 November 1982, Le Baiser de la Fée, both in Leningrad/St Petersburg (CD, Praga Digitals PRD/DSD 350 113, 1947, 2015).Google Scholar
Stravinsky, Igor and Bach, J. S., Duo Concertant – Suite Italienne /Partita N.1 in B minor – Sonata No.1 in G minor, Leonidas Kavakos (violin) and Péter Nagy (piano) (CD, EMC Records 1855, 2005).Google Scholar
Stravinsky, Igor, Chamber Works and Rarities, cond. Ashkenazy, Vladimir and Dutoit, Charles, European Chamber Soloists, Sinfonietta de Montréal, recorded between May 1962 and December 1994 in several locations: Geneva, Cleveland, Montréal, Swansea, London (CD, Double Decca 473 810-2, 1989).Google Scholar
Stravinsky, Igor, The Firebird, Jeu de cartes, cond. Esa-Pekka Salonen, Philharmonia Orchestra, recorded in Watford Tower Hall, 1988 (CD, Sony Classical 88985369592 (2), 1989).Google Scholar
Stravinsky, Igor, Histoire du Soldat (suite), Pulcinella (suite), cond. Stravinsky, Columbia Symphony, Columbia Chamber Ensemble, recorded 10–13 February 1961, Histoire du Soldat, and 25 August 1965, Pulcinella, Legion Hall, Hollywood, California, originally released 1968 (CD, Sony Classical sx9k64136, 1999).Google Scholar
Stravinsky, Igor, Symphony of Psalms, Symphony in C, Symphony in Three Movements, cond. Simon Rattle, Berliner Philharmoniker, Rundfunkchor Berlin, recorded in concert, 20–2 September 2007 in Philharmonie, Berlin (CD, Warner Classics 2 076330, 2008).Google Scholar
Stravinsky, Igor, Oedipus Rex, Les Noces, cond. Valery Gergiev, Mariinsky Orchestra and Chorus, soloists, recorded 28–31 December 2009 in the Concert Hall of the Mariinsky Theatre, St Petersburg, Russia (CD, Mariinsky SACD MAR0510, 2010).Google Scholar
Stravinsky, Igor, Petrouchka, Le Baiser de la Fée (complete), cond. Yevgeny Mravinsky, Leningrad Philharmonic Orchestra, recorded 14 May 1961, Petrouchka, and 18 November 1982, Le Baiser de la Fée, both in Leningrad/St Petersburg (CD, Praga Digitals PRD/DSD 350 113, 1947, 2015).Google Scholar
Stravinsky, Igor and Bach, J. S., Duo Concertant – Suite Italienne /Partita N.1 in B minor – Sonata No.1 in G minor, Leonidas Kavakos (violin) and Péter Nagy (piano) (CD, EMC Records 1855, 2005).Google Scholar
Brooks, Jeffrey, When Russia Learned to Read: Literacy and Popular Literature, 1861–1917 (Evanston, IL: Northwestern University Press, 2003).Google Scholar
Brunson, Molly, Russian Realisms (DeKalb, IL: Northern Illinois University Press, 2016).Google Scholar
Gasparov, Boris, Five Operas and a Symphony: Word and Music in Russian Culture (New Haven, CT and London: Yale University Press, 2005).CrossRefGoogle Scholar
liederoperagreats, ‘Dawn Upshaw; “Two Poems of Konstantin Bal’mont”; Igor Stravinsky’ (recorded 1990, YouTube video, 2:45, posted September 2017), www.youtube.com/watch?v=VbpoxL9o430.Google Scholar
liederoperagreats, ‘Elly Ameling; Pastorale; Igor Stravinsky’ (recorded 1972, YouTube video, 1:59, posted January 2018), www.youtube.com/watch?v=JU5n6WyvpZw.Google Scholar
Mitchell, Rebecca, Nietzsche’s Orphans: Music, Metaphysics, and the Twilight of the Russian Empire (New Haven, CT and London: Yale University Press, 2016).Google Scholar
Morrison, Simon, Russian Opera and the Symbolist Movement (Berkeley and Los Angeles: University of California Press, 2002).Google Scholar
Stravinsky, Igor, Le Roi des étoiles [Zvezdolikii], Berlin Radio Chorus and Berlin Radio Symphony Orchestra, cond. Richard Chailly, on Stravinsky: Symphony of Psalms (CD, Decca, 1985).Google Scholar
Stravinsky, Igor, Stravinsky: Songs, Olga Romanko, soprano with the Bolshoi Chamber Music Ensemble, cond. Alexander Golyshev (CD Talent Records 505, 2005).Google Scholar
Taruskin, Richard, ‘In Stravinsky’s Songs, the True Man, No Ghostwriters’, New York Times (13 April 2008).Google Scholar
Alm, Irene, ‘Stravinsky, Balanchine, and Agon: An Analysis Based on the Collaborative Process’, The Journal of Musicology 7, no. 2 (Spring 1989), 254–69.CrossRefGoogle Scholar
Cross, Jonathan, ‘Stravinsky in Exile’, in Levitz, Tamara (ed.), Stravinsky and His World (Princeton, NJ and Oxford: Princeton University Press, 2013), pp. 319.Google Scholar
Horlacher, Gretchen, ‘The Futility of Exhortation: Pleading in Stravinsky’s Oedipus Rex and Orpheus, in Levitz, Tamara (ed.), Stravinsky and His World (Princeton, NJ and Oxford: Princeton University Press, 2013), pp. 79104.Google Scholar
Randel, Julia, ‘Un-Voicing Orpheus: The Powers of Music in Stravinsky and Balanchine’s “Greek” Ballets’, The Opera Quarterly 29, no. 2 (2013), pp. 101–45.Google Scholar
Tarasti, Eero, Myth and Music: A Semiotic Approach to the Aesthetics of Myth in Music Especially That of Wagner, Sibelius and Stravinsky (The Hague: Mouton, 1979).Google Scholar
Taruskin, Richard, ‘Un cadeau très macabre’, University of Toronto Quarterly 72, no. 4 (Fall 2003), pp. 801–16.Google Scholar
Walsh, Stephen, ‘The Action Drama and the Still Life: Enescu, Stravinsky, and Oedipus’, in Brown, Peter and Ograjenšek, Suzana (eds), Ancient Drama in Music for the Modern Stage (Oxford: Oxford University Press), pp. 305–19.Google Scholar
Timothy Clark, Ukiyo-e Paintings in the British Museum (London: British Museum Press, 1992).Google Scholar
Ōkubo, Jun-ichi, Ukiyoe shuppanron: tairyō seisan, shōhi sareru ‘bijutsu’ (‘About Ukiyo-e Publishing: Mass-Produced and Consumer “Art”’) (Tokyo: Yoshikawa Kōbunkan, 2013).Google Scholar
van der Oye, David Schimmelpenninck, Russian Orientalism: Asia in the Russian Mind from Peter the Great to the Emigration (New Haven, CT: Yale University Press, 2010).Google Scholar
Stravinsky, Igor, Three Japanese Lyrics (for Soprano and Instrumental Nonet), Evelyn Lear, soprano and Columbia Symphony Orchestra, cond. Robert Craft, recorded in Hollywood, CA, 10 June 1968, CD 51, ‘Stravinsky Songs’ in the Complete Columbia Album Collection (Sony, 88875026162, 1968).Google Scholar
Stravinsky, Igor, Three Japanese Lyrics (for Soprano and Piano), studio recording, ‘Four Different Kinds of Three Japanese Lyrics’: (1) Ayaka Ono, mezzo-soprano (in Russian); (2) Ayako Kosaka, mezzo-soprano (in French); (3) Asako Motojima, soprano (in English), (4) Maki Ohta, soprano (in German) with Mai Ikehara, piano; (5) recitation in Japanese of Waka poems (recorded in Tokyo, 23, 25, 27 August 2019), https://youtu.be/FfQFtV8uk40.Google Scholar
Said, Edward W., Orientalism (New York: Vintage Books Edition, 1978).Google Scholar
Tohda, Masahiro, Shinowazuri ka Jyaponisumu ka: Seiyō Sekai ni Ataeta Eikyō (‘Chinoiserie or Japonisme? Impact on the Western World’) (Tokyo: Chuō Sōsho, 2015).Google Scholar
Baker, Houston A. Jr, Modernism and the Harlem Renaissance (Chicago: University of Chicago Press, 1987).Google Scholar
Berlin, Edward A., Ragtime: A Musical and Cultural History (Berkeley: University of California Press, 1980).Google Scholar
Blake, Jody, Le Tumulte Noir: Modernist Art and Popular Entertainment in Jazz-Age Paris, 1900–1930 (University Park: Pennsylvania State University Press, 1999).Google Scholar
Fry, Andy, Paris Blues: African American Music and French Popular Culture, 1920–1960 (Chicago: University of Chicago Press, 2014).Google Scholar
Levine, Lawrence W., Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge, MA: Harvard University Press, 1988).Google Scholar
Lott, Eric, Love and Theft: Blackface Minstrelsy and the American Working Class (New York: Oxford University Press, 1993).Google Scholar
Ramsey, Guthrie P. Jr, Race Music: Black Cultures from Bebop to Hip-Hop (Berkeley: University of California Press, 2003).Google Scholar
Scott, Derek B., Sounds of the Metropolis: The Nineteenth-Century Popular Music Revolution in London, New York, Paris, and Vienna (New York: Oxford University Press, 2008).Google Scholar
Sotiropoulos, Karen, Staging Race: Black Performers in Turn of the Century America (Cambridge, MA: Harvard University Press, 2006).CrossRefGoogle Scholar
Tackley, Catherine, The Evolution of Jazz in Britain, 1880–1935 (Aldershot: Ashgate, 2005).Google Scholar
Abbate, Carolyn, ‘Music: Drastic or Gnostic?’, Critical Inquiry 30, no. 3 (2004), pp. 505–36.Google Scholar
Berlin, Isaiah, ‘The Hedgehog and the Fox: An Essay on Tolstoy’s View of History’, in Hardy, Henry and Kelly, Aileen (eds), Russian Thinkers (London: Penguin, 1953/2013), pp. 2492.Google Scholar
Chua, Daniel, ‘Rioting with Stravinsky: A Particular Analysis of the Rite of Spring’, Music Analysis 26, no. 1–2 (2007), pp. 59109.Google Scholar
Johnson, Julian, ‘Return of the Repressed: Particularity in Early and Late Modernism’, in Guldbrandsen, Erling E. and Johnson, Julian (eds), Transformations of Musical Modernism (Cambridge: Cambridge University Press, 2015), pp. 3652.Google Scholar
Paddison, Max, Adorno’s Aesthetics of Music (Cambridge: Cambridge University Press, 1993).Google Scholar
Schoenberg, Arnold, Adorno, Theodor W. and Stravinsky, Igor, Schoenberg, Adorno and Stravinsky: Orchestral Works, Moscow Symphony Orchestra/Kornienko (TYXart TXA 12004, 2012).Google Scholar
Stravinsky, Igor, Histoire du Soldat, Bouquet/Depardieu/Depardieu/Mintz (Auvidis Valois V 4805, 1997).Google Scholar
Stravinsky, Igor, The Soldier’s Tale, Columbia Chamber Ensemble/Stravinsky/Irons (Sony BMG 2876 76586 2, 2007),Google Scholar
Stravinsky, Igor, The Soldier’s Tale, Constella Ballet and Orchestra (2013), www.youtube.com/watch?v=RewFQpEY55w.Google Scholar
Richard, Taruskin, ‘Catching Up with Rimsky-Korsakov’, Music Theory Spectrum 33, no. 2 (2011), pp. 169–85.Google Scholar
Adorno, Theodor W., Philosophy of Modern Music (London: Sheed and Ward, 1973).Google Scholar
Craft, Robert, ‘Excerpts from Stravinsky’s Letters to B. Schotts Söhne’, in Stravinsky: Selected Correspondence, vol. 3 (London: Faber, 1985), pp. 217–72.Google Scholar
Cross, Jonathan, ‘Stravinsky’s Petrushka: Modernizing the Past, Russianizing the Future, or, How Stravinsky Learned to Be an Exile’, in Fairclough, Pauline (ed.), Twentieth-Century Music and Politics: Essays in Memory of Neil Edmunds (Farnham: Ashgate, 2012), pp. 2336.Google Scholar
Dümling, Albrecht, ‘The Target of Racial Purity: The “Degenerate Music” Exhibition in Düsseldorf, 1938’, in Etlin, Richard A. (ed.), Art, Culture, and Media under the Third Reich (Chicago: University of Chicago Press, 2002), pp. 4372.Google Scholar
Evans, Joan, ‘Diabolus triumphans: Stravinsky’s Histoire du soldat in Weimar and Nazi Germany’, in Daverio, John and Ogosapian, John (eds.), The Varieties of Musicology: Essays in Honor of Murray Lefkowitz (Warren MI: Harmonie Park Press, 2000), pp. 175–85.Google Scholar
Slim, H. Colin, ‘Stravinsky’s Four Star-Spangled Banners and His 1941 Christmas Card’, Musical Quarterly 89 (2006), pp. 321447.Google Scholar
Stayer, Jayme, ‘A Tale of Two Artists: Eliot, Stravinsky, and Disciplinary (Im)Politics’, in Cooper, John Xiros (ed.), T.S. Eliot’s Orchestra: Critical Essays on Poetry and Music (New York and London: Routledge, 2015), 295334.Google Scholar
Stravinsky, Igor, The Card Game (Jeu de cartes), Berliner Philharmoniker/Igor Stravinsky (Sinetone PCA 204/MP3 download, recorded 21 February 1938).Google Scholar
Stravinsky, Vera and Craft, Robert, Stravinsky in Pictures and Documents (New York: Simon & Schuster, 1978).Google Scholar
Walsh, Stephen, Stravinsky: A Creative Spring – Russia and France, 1882–1934 (London: Pimlico, 2002).Google Scholar
Walsh, Stephen, Stravinsky: The Second Exile – France and America, 1934–1971 (New York: Knopf, 2006).Google Scholar
Asafyev, Boris, Kniga o Stravinskom (Leningrad, 1929); translated as A Book about Stravinsky in Russian Music Studies, vol. 5 (Ann Arbor: UMI Research Press, 1982).Google Scholar
Böhm, Gottfried, Mosch, Ulrich and Schmidt, Katharina (eds), Canto d’amore: Classicism in Modern Art and Music 1914–1935 (Basel: Öffentliche Kunstsammlung Basel/Kunstmuseum: Paul Sacher Foundation in association with Merrell Holberton Publishers, 1996).Google Scholar
Carr, Maureen A., After the Rite: Stravinsky’s Path to Neoclassicism (1914–25) (Oxford: Oxford University Press, 2014).Google Scholar
The Final Chorale, a documentary by Scheffer, Frank (Allegri Films BV, 1991).Google Scholar
Goubault, Christian, Igor Stravinsky (Paris: Librairie Honoré Champion, 1991).Google Scholar
Catalog, K, annotated catalog of works and work editions of Igor Strawinsky till 1971, www.kcatalog.org/index.php.Google Scholar
Strawinsky. Sein Nachlass. Sein Bild (Basel: Kunstmuseum Basel, Paul Sacher Stiftung, 1984).Google Scholar
Ewell, Philip, ‘“On the System of Stravinsky’s Harmony”, by Yuri Kholopov: Translation and Commentary’, Music Theory Online 19, no. 2.1 (June 2013).Google Scholar
Levitz, Tamara (ed.), and Penka, Philipp and Grabarchuk, Alexandra, (trans.), ‘Stravinsky’s Cold War: Letters About the Composer’s Return to Russia, 1960–1963’, in Levitz, Tamara (ed.), Stravinsky and His World (Princeton, NJ: Princeton University Press, 2013), pp. 273318.Google Scholar
Neff, Severine, Carr, Maureen and Horlacher, Gretchen (eds), The Rite of Spring at 100 (Bloomington, IN: Indiana University Press, 2017).Google Scholar
Taruskin, Richard, Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra (Berkeley and Los Angeles: University of California Press, 1996).Google Scholar
Walsh, Stephen, Stravinsky: A Creative Spring – Russia and France, 1882–1934 (London: Pimlico, 2002).Google Scholar
Walsh, Stephen, Stravinsky: The Second Exile – France and America, 1934–1971 (New York: Alfred A. Knopf, 2006).Google Scholar
Schwarz, Boris, Music and Musical Life in Soviet Russia, 1917–1970 (New York: W. W. Norton & Company, 1973).Google Scholar
Taruskin, Richard, Russian Music at Home and Abroad: New Essays (Berkeley: University of California Press, 2016).Google Scholar
Vlasova, Yekaterina, 1948 god v sovetskoy muzyke (‘The Year 1948 in Soviet Music’) (Moscow: Klassika-XXI, 2010).Google Scholar
Stravinsky, Igor, Concerto for Piano and Wind Instruments, Maria Yudina (piano), Moscow Radio Symphony Orchestra, cond. Gennadi Rozhdestvensky (Akkord, USSR: D-010309/010310, 1962). www.youtube.com/watch?v=uZR5Fh3ZCoI.Google Scholar
Stravinsky, Igor, Agon, Leningrad Philharmonic Orchestra, cond. Yevgeny Mravinsky (CD, Melodiya: B000001HC9, 1996). (Mravinsky conducted the Russian premiere of Agon on 29 October 1965.) Apollo, Leningrad Philharmonic Orchestra, cond. Yevgeny Mravinsky, live recording (Melodiya) at the Grand Hall of the Leningrad Philharmonic, 1965 (DSD256: download), www.highdeftapetransfers.com/products/stravinsky-apollon-musagete-mravinsky-leningrad-philharmonic-orchestra-pure-dsd.Google Scholar
Stravinsky, Igor, The Fairy’s Kiss, Leningrad Philharmonic Orchestra, cond. Yevgeny Mravinsky, live recording (Melodiya) at the Grand Hall of the Leningrad Philharmonic, 30 October 1965, www.youtube.com/watch?v=I23VulebfQs.Google Scholar
Stravinsky, Igor, Three Movements from Petrushka. Grigory Sokolov (piano), live recording, Amsterdam, 1992, www.youtube.com/watch?v=hg-5iL6cF34.Google Scholar
Stravinsky, Igor, The Firebird (Fokin), The Rite of Spring (Nijinsky), Maryinsky Theatre Orchestra and Ballet, cond. Valery Gergiev. Live recording, St Petersburg (DVD, Bel Air, 2013).Google Scholar
Schwarz, Boris, Music and Musical Life in Soviet Russia, 1917–1970 (New York: W. W. Norton & Company, 1973).Google Scholar
Taruskin, Richard, Russian Music at Home and Abroad: New Essays (Berkeley: University of California Press, 2016).Google Scholar
Vlasova, Yekaterina, 1948 god v sovetskoy muzyke (‘The Year 1948 in Soviet Music’) (Moscow: Klassika-XXI, 2010).Google Scholar
Stravinsky, Igor, Concerto for Piano and Wind Instruments, Maria Yudina (piano), Moscow Radio Symphony Orchestra, cond. Gennadi Rozhdestvensky (Akkord, USSR: D-010309/010310, 1962). www.youtube.com/watch?v=uZR5Fh3ZCoI.Google Scholar
Stravinsky, Igor, Agon, Leningrad Philharmonic Orchestra, cond. Yevgeny Mravinsky (CD, Melodiya: B000001HC9, 1996). (Mravinsky conducted the Russian premiere of Agon on 29 October 1965.) Apollo, Leningrad Philharmonic Orchestra, cond. Yevgeny Mravinsky, live recording (Melodiya) at the Grand Hall of the Leningrad Philharmonic, 1965 (DSD256: download), www.highdeftapetransfers.com/products/stravinsky-apollon-musagete-mravinsky-leningrad-philharmonic-orchestra-pure-dsd.Google Scholar
Stravinsky, Igor, The Fairy’s Kiss, Leningrad Philharmonic Orchestra, cond. Yevgeny Mravinsky, live recording (Melodiya) at the Grand Hall of the Leningrad Philharmonic, 30 October 1965, www.youtube.com/watch?v=I23VulebfQs.Google Scholar
Stravinsky, Igor, Three Movements from Petrushka. Grigory Sokolov (piano), live recording, Amsterdam, 1992, www.youtube.com/watch?v=hg-5iL6cF34.Google Scholar
Stravinsky, Igor, The Firebird (Fokin), The Rite of Spring (Nijinsky), Maryinsky Theatre Orchestra and Ballet, cond. Valery Gergiev. Live recording, St Petersburg (DVD, Bel Air, 2013).Google Scholar
Cyr, Louis, ‘Le Sacre du printemps: petite histoire d’une grande partition’, in Lesure, François (ed.), Stravinsky: etudes et témoignages (Paris: Lattès, 1982), pp. 91147.Google Scholar
Kirchmeyer, Helmut, Kommentiertes Verzeichnis der Werke und Werkausgaben Igor Strawinskys bis 1971 (Stuttgart: Hirzel Verlag, 2002); online version (updated), www.kcatalog.org.Google Scholar
Nichols, Robert S. and Simeone, Nigel, ‘Éditions Russes de Musique’, in Krummel, D. W. and Sadie, Stanley (ed.), The New Grove Handbooks in Music: Music Printing and Publishing (London: Macmillan, 1990), pp. 227–8.Google Scholar
Stravinsky, Igor, The Rite of Spring. Le Sacre du Printemps. Sketches, 1911–1913 (London: Boosey & Hawkes, 1969).Google Scholar
Wallace, Helen, Boosey & Hawkes: The Publishing Story (London: Boosey & Hawkes, 2007).Google Scholar
White, Eric Walter, Stravinsky: The Composer and His Works (London: Faber and Faber, 1966/79).Google Scholar
Carr, Maureen A. (ed.), Stravinsky’s Pulcinella: A Facsimile of the Sources and Sketches (Middleton: A-R Editions, 2010).Google Scholar
Mäkelä, Tomi, ‘Defining Compositional Process: Idea and Instrumentation in Igor Stravinsky’s Ragtime (1918) and Pribaoutki (1915)’, in Hall, Patricia and Sallis, Friedemann (ed.), A Handbook to Twentieth-Century Musical Sketches (Cambridge: Cambridge University Press, 2004), pp. 131–45.Google Scholar
Mosch, Ulrich (ed.), Paul Sacher: Facetten einer Musikerpersönlichkeit (Mainz: Schott, 2006).Google Scholar
Once at a Border, dir. Palmer, Tony (Isolde Films, 1982; DVD, London: Digital Classics, 2006).Google Scholar
Resonanzen: Paul Sacher, Dirigent und Anreger (Zürich: Migros-Genossenschafts-Bund, 2006), four compact discs: CD 1 includes recordings of Monumentum pro Gesualdo di Venosa ad CD annum, Abraham and Isaac, A Sermon, a Narrative and a Prayer, and Symphony in Three Movements.Google Scholar
Stravinsky, Igor, Symphonies d’instruments à vent: Faksimileausgabe des Particells und der Partitur der Erstfassung (1920), ed. Baltensperger, André and Meyer, Felix (Winterthur: Amadeus-Verlag, 1991).Google Scholar
Stravinsky, Igor, The Rite of Spring: Centennial Edition in Three Volumes (London: Boosey & Hawkes, 2013); vol. 1: facsimile of the autograph full score; vol. 2: facsimile edition of the version for piano four-hands from the private collection of John Stravinsky; vol. 3: Avatar of Modernity (eighteen essays in English).Google Scholar
Cone, Edward T., ‘Stravinsky: The Progress of a Method’, Perspectives of New Music 1, no. 1 (1962), pp. 1826; reprinted in Benjamin Boretz and Edward T. Cone (eds), Perspectives on Schoenberg and Stravinsky (Princeton, NJ: Princeton University Press, 1968), pp. 155–64.Google Scholar
Hogan, Clare, ‘Threni: Stravinsky’s Debt to Krenek’, Tempo 141 (1982), pp. 22–9.Google Scholar
Horlacher, Gretchen, Building Blocks: Repetition and Continuity in the Music of Stravinsky (Oxford: Oxford University Press, 2011).Google Scholar
Hyde, Martha M., ‘Neoclassic and Anachronistic Impulses in Twentieth-Century Music’, Music Theory Spectrum 18, no. 2 (1996), pp. 200–35.Google Scholar
Joseph, Charles M., Stravinsky & Balanchine: A Journey of Invention (New Haven, CT: Yale University Press, 2002).Google Scholar
Neff, Severine, Carr, Maureen, Horlacher, Gretchen and Reef, John (eds), The Rite of Spring at 100 (Bloomington: Indiana University Press, 2017).Google Scholar
Pasler, Jan (ed.), Confronting Stravinsky: Man, Musician, and Modernist (Berkeley: University of California Press, 1986).Google Scholar
Rehding, Alexander, ‘Towards a “Logic of Discontinuity” in Stravinsky’s Symphonies of Wind Instruments: Hasty, Kramer and Straus Reconsidered’, Music Analysis 17, no. 1 (1998), pp. 3965.Google Scholar
Straus, Joseph N., Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition (Cambridge, MA: Harvard University Press, 1990).Google Scholar
Stravinsky, Igor and Craft, Robert, Conversations with Igor Stravinsky (New York: Doubleday, 1959; reprint edn Berkeley: University of California Press, 1980).Google Scholar
Adorno, Theodor W., Philosophy of New Music, trans. Hullot-Kentor, Robert (Minneapolis: University of Minnesota Press, 2006).Google Scholar
Hodson, Millicent, Nijinsky’s Crime against Grace: Reconstruction Score of the Original Choreography of Le Sacre du Printemps (Stuyvesant, NY: Pendragon Press, 1996).Google Scholar
The Rite of Spring: Sketches 1911–13 (London: Boosey & Hawkes, 1969).Google Scholar
Rite of Spring, Ballet, Joffrey (1987), https://youtu.be/jo4sf2wT0wU.Google Scholar
Rivière, Jacques, ‘Le Sacre du Printemps’, La nouvelle revue française (November 1913).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×