Project Gutenberg's Miniature essays: Igor Stravinsky, by Anonymous
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Title: Miniature essays: Igor Stravinsky
Author: Anonymous
Release Date: August 27, 2012 [EBook #40597]
Language: English
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MINIATURE ESSAYS::
IGOR STRAVINSKY
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[Illustration: Photographie, Robert Regassi, Lausanne
IGOR STRAVINSKY]
IGOR STRAVINSKY
Igor Stravinsky was born at Oranienbaum, near St. Petersburg, on June
5th (18th), 1882. His father, an operatic singer, who won great favour
with the public of the Russian capital at the Maryinsky Theatre, soon
discovered remarkable musical gifts in the boy, which he did not neglect
to develop, although he wished him to grow up to a legal career. In
accordance with this plan, Igor Stravinsky, on having reached
adolescence, entered the University of St. Petersburg and devoted
himself to the study of jurisprudence, not without periodical and almost
irresistible impulsions to abandon it for music. He had thus reached the
age of twenty-two, when a meeting with Rimsky-Korsakov, who saw and
appreciated the young man's astonishing talent, proved the decisive
event of his life. Rimsky-Korsakov declared himself willing to accept
him as a pupil.
The direct outcome of Rimsky-Korsakov's tuition was, first of all, a
Symphony, begun in 1905 and finished in 1907. This was succeeded by
"Faun and Shepherdess," a song-cycle with orchestra, and two orchestral
works, "Fireworks" and "Scherzo fantastique." The latter was the means
of bringing about a meeting that was destined to direct Stravinsky's
activities into a new channel: he made the acquaintance of Serge
Diaghilev, who was struck by the vitality and colour of the work he had
heard, and who induced him to set to music one of the ballets he
proposed to produce. This was the "Firebird" (1910), which was followed
in due course by "Petrushka" (1911) and "Le Sacre du Printemps" (1913).
Next came an opera, begun some years earlier, "The Nightingale,"
finished in 1914, the second and third acts of which were later
converted into the symphonic poem, "The Song of the Nightingale" (1917).
Stravinsky left Russia at an early stage of his career and has since
lived alternately in Paris and on the shores of the Lake of Geneva.
It is almost impossible to-day to consider the work of Igor Stravinsky
with the detachment that is the first requisite of a judicious
appreciation, and to avoid taking part in the violent controversy to
which it has given rise, a controversy that is in itself a testimony to
its vitality, for Stravinsky's music is so characteristic an expression
of the artistic tendencies of our time that even those who most dislike
it cannot pass it by in silence. It is perhaps hardly paradoxical to
assert that fundamentally all the critics agree as to its significance,
and that they differ merely in the point of view from which they regard
it.
There have been few composers whose development has been as rapid and as
far-reaching as that of Stravinsky, and this is probably the chief
reason why his later works so completely baffle anyone who is not
intimately acquainted with those that precede them. For it cannot be too
strongly emphasized that, disjointed as Stravinsky's output may appear
to the superficial observer, it reveals a gradual and very logical
transformation, in the course of which each work falls into its place
and contributes something to an evolution--so often mistaken for
revolution--which is only more difficult to follow than that of most
other composers because it is so much more rapid. Stravinsky has
covered, within a decade, a stretch of ground which most others would
have taken fifty years to traverse, if indeed they would have traversed
it at all. Small wonder that he leaves many of those who endeavour to
follow him in a state of breathless vexation by the wayside.
The development began immediately after the Symphony, Stravinsky's first
work, and the only example of his availing himself of a classical form
for the expression of his ideas, which were even then sufficiently
original to force upon him the realization of the necessity of creating
new and more elastic moulds. The next works, in fact, "Faun and
Shepherdess," "Fireworks" and "Scherzo fantastique," already give an
impression of far greater spontaneity and, despite the still apparent
outside influences, especially Rimsky-Korsakov's, of greater
individuality. Rimsky-Korsakov's sway over his pupil was, even at this
early stage, confined to a certain picturesqueness that soon became too
obvious for Stravinsky, and to the example of the master's glowing
orchestration, an inheritance destined to bear compound interest in the
pupil's hands. In the "Firebird" this influence is seen for the last
time and in a greatly diminished degree, being now restricted to the
characteristic national treatment of the thematic material. It may be
remarked in passing that the national element is a secondary matter in
Stravinsky's music, and that his personal expression always
predominates; he is above all a _musician_, and only incidentally a
_Russian_ musician, just as Poushkin was first and foremost a poet, who
only by the accident of his birth happened to express himself in the
Russian language. Yet the national idiom in Stravinsky is second only to
his universally human expression, or we should never have had such a
work as "Petrushka." In this ballet, still regarded as his masterpiece
by those who are unable to follow him beyond it, he certainly reached
full maturity and completely revealed his personality. To consider the
music of "Petrushka," as the casual listener might be tempted to do, as
merely descriptive, is to mistake its purpose entirely. With Stravinsky,
as we may already see in the "Firebird," where it is narrative rather
than illustrative, music is never subservient to anything else, even
when it is allied to literary, histrionic or choreographic conceptions.
It is a separate organism and always remains absolute music that makes
its appeal to the senses rather than to the intellect. It is not
explicative, but parallel, it is a stimulant that calls forth other
ideas; hence the possibility of giving "Le Sacre du Printemps" two
entirely different choreographic settings. The tendency to provide pure
music to a scenario with which it is analogous in feeling, but from
which it remains nevertheless independent, reaches its culmination in
"L'Histoire du Soldat" and in "Renard." That the music of the former,
for instance, is capable of being enjoyed separately, as music pure and
simple, has been proved by more than one concert performance, and will
be experienced by those who play at home the composer's own Trio
arrangement (for piano, violin and clarinet), or the piano transcription
of some of the principal numbers.
A very remarkable feature of "L'Histoire du Soldat" is the manner in
which Stravinsky explores the possibilities of various forms of popular
music--not the folk-song, but the music of the fair, the ballroom, or
the music-hall--which he converts into art-forms that are lifted out of
their original functions. The Waltz, the Tango, the Rag, become in his
hands much the same musical assets that the Allemande, the Courante, the
Sarabande, became in the hands of the old masters. Other examples of
this conversion of vulgar forms of music may be found in the "Piano Rag
Music," in the "Ragtime" for small orchestra or piano, in the two sets
of easy pieces for piano duet, and in the diminutive piano pieces for
children, "Les Cinq Doigts."
It is difficult to imagine that the principle of absolute music can be
realized where it is a question of the setting of words; yet Stravinsky
has succeeded in upholding his ideal even in such works as the
"Berceuses du Chat," the "Pribaoutki," the "Four Chants Russes" and the
"Three Histoires pour Enfants." This explains at once the otherwise
perhaps inexplicable choice of words that have no literary significance.
To set a great poet's words to music has become for Stravinsky an
absurdity, because to him the verses themselves are already a completely
and independently satisfying equivalent of musical emotion. His aim is
not to write music that performs the functions of applied art, and he is
therefore on the look-out for texts that are too insignificant or naïve
in themselves, such as the little popular Russian verses he has chosen.
They made their appeal to him because of their sonorous and rhythmic,
not because of any literary quality; they are potential, foreseeing all
sorts of possibilities which they leave to the composer to realize.
Stravinsky is sociable and direct; he writes simply for the enjoyment of
player and hearer alike.
The one quality of Stravinsky's art that no critic has ventured to
dispute is his consummate mastery of every instrumental resource. His
combinations of tone-colour always hold surprises in store for us, which
curiously enough do not seem to wear off even after repeated hearing.
One of the secrets of the extraordinary resonance that astonishes the
hearer is the fact that Stravinsky writes for each instrument
individually as if he were himself a virtuoso on it; he always gives it
exactly the kind of music to play that suits its particular character.
He does not transfer the same phrase from one instrument to another
unless he is sure that it is congenial to both, and he generally prefers
to give each one something entirely different to do, something that
invariably goes to the very root of its idiosyncrasy. This tendency
results in a subtle blending of different rays of colour and degrees of
light and shade, in a kind of dynamic (as distinct from harmonic) chord
formation. In the later works, this manner of individualizing each
instrument has become still more interesting because Stravinsky has more
closely adapted his medium to his purpose. He distributes his chords
among instruments of very different character instead of aiming at unity
of colour, and he thus helps us to hear each of the simultaneously
sounding notes as a separate value. "L'Histoire du Soldat" and the
"Ragtime" give an impression of extraordinary plasticity; we have here a
parallel to the three-dimensional art of the sculptor rather than to the
deceptive perspective of the painter's canvas. But Stravinsky can at
will abandon the three dimensions and give us a perfectly satisfying
study in mere contour, such as we get in the three pieces for solo
clarinet.
An entirely new conception is the ballet-divertissement, "Les Noces,"
where in addition to an orchestra from which string instruments are
excluded, there are four solo voices and a chorus supporting the whole
fabric of sound, sometimes alternately and sometimes in combination,
without a single interruption throughout the whole work. The music of
the _Noces_, like all the later works by Stravinsky, is directly and
exclusively written to satisfy the auditive faculty of the hearer and it
is thus a new affirmation of the reaction against the subjective
expression in music that has so many adepts among the greatest
composers of the nineteenth and the opening of the present century. If
he can be compared to any older masters, he certainly has far more
affinity with Haydn and Mozart than with any nineteenth century
composer, and it is less surprising than those who are but superficially
acquainted with his work might be inclined to think, that he should have
found a very congenial task in composing on the basis of some pieces by
Pergolesi the ballet of "Pulcinella," a task of which he acquitted
himself with a delicacy and a reverence that none but a kindred spirit
could have achieved.
[Decoration]
Igor Strawinsky est né à Oranienbaum, près de St. Petersbourg, 5 (18)
Juin, 1882. Son père, un chanteur d'opéra qui jouissait d'une grande
faveur auprès du public de la capitale assidu au Théâtre Marie,
découvrit bientôt les remarquables dons musicaux de l'enfant et ne
négligea point de les développer, bien qu'il souhaitât le voir
poursuivre l'étude du droit. Conformément à cette intention, Igor
Strawinsky entra par la suite à l'Université de St. Petersbourg et se
consacra à l'étude de la jurisprudence, non sans de vives et presque
irrésistibles tentations de l'abandonner pour la musique. Il avait ainsi
atteint l'âge de vingt-deux ans quand une rencontre avec
Rimsky-Korsakow, qui vit et apprécia l'étonnant talent du jeune homme,
fut l'événement qui décida de sa vie. Il se déclara prêt à le prendre
pour élève.
La conséquence directe de l'enseignement de Rimsky fut, tout d'abord,
une _Symphonie_ commencée en 1905 et achevée en 1907; et qui fut suivie
par _Faune et Bergère_, suite de mélodies avec orchestre, et par deux
oeuvres pour orchestre _Feu d'artifice_ et _Scherzo fantastique_. Cette
dernière oeuvre fut l'occasion d'une rencontre qui allait engager
l'activité de Strawinsky dans une nouvelle voie; il fit alors la
rencontre de Serge de Diaghileff qui fut frappé de la couleur et de la
vie de l'oeuvre qu'il venait d'entendre et qui décida le compositeur à
mettre en musique un des ballets qu'il se proposait de monter. Ce fut
_l'Oiseau de feu_ (1910), suivi peu après par _Petrouchka_ (1911) et _le
Sacre du Printemps_ (1913). Puis vint un opéra, commencé plusieurs
années auparavant, _le Rossignol_, achevé en 1914 et dont le deuxième et
troisième acte furent ensuite convertis en poème symphonique: _le Chant
du Rossignol_ (1917). Strawinsky avait quitté la Russie au début de sa
carrière et a vécu depuis lors alternativement à Paris et sur les bords
du lac de Genève.
Il est presque impossible aujourd'hui de considérer l'oeuvre d'Igor
Strawinsky avec le détachement qui est la condition d'une appréciation
judicieuse, et d'éviter de prendre part dans la violente controverse à
laquelle elle a donné naissance, controverse qui est par elle-même le
témoignage de la vitalité de cette oeuvre: car la musique de Strawinsky
est une expression si caractéristique des tendances artistiques de notre
temps que même ceux qui la détestent le plus ne peuvent la passer sous
silence. Il est peut-être à peine paradoxal d'affirmer que tous les
critiques sont essentiellement d'accord sur sa signification et qu'ils
ne diffèrent que par le point de vue d'où ils la considèrent.
Peu de compositeurs ont connu un développement aussi rapide et aussi
considérable que Strawinsky, et c'est probablement pourquoi ses
dernières oeuvres déconcertent si complètement ceux qui ne sont pas
familiarisés avec des oeuvres précédentes. On ne peut en effet trop
insister sur le fait que si décousue que puisse paraître l'oeuvre de
Strawinsky aux yeux d'un observateur superficiel, il révèle une
évolution graduelle et parfaitement logique au cours de laquelle chaque
oeuvre prend sa place et contribue à dessiner la courbe d'une évolution,
(trop souvent considérée comme révolution) qu'il est seulement plus
difficile de suivre que celle des autres compositeurs parce qu'elle est
plus rapide. Strawinsky a parcouru en dix ans un chemin que la plupart
des autres auraient mis cinquante ans à franchir, si même ils l'avaient
franchi. Comment s'étonner alors qu'il laisse haletants sur le bord de
la route bon nombre de ceux qui s'efforcent de le suivre?
Ce développement commence aussitôt après la _Symphonie_, première oeuvre
de Strawinsky, et seul exemple d'utilisation d'une forme classique qu'il
ait donné pour exprimer ses idées, idées qui étaient dès alors assez
originales pour l'amener à se créer des moules nouveaux et plus souples.
Les oeuvres suivantes; _Faune et Bergère_, _Feu d'artifice_ et le
_Scherzo fantastique_, donnent déjà la sensation d'une spontanéité
beaucoup plus vive, et en dépit de visibles influences (spécialement
celle de Rimsky) d'une plus grande individualité. L'empreinte de Rimsky
sur son élève était, même à cette époque des débuts, limitée à un
certain pittoresque qui devint bientôt trop _facile_ pour Strawinsky et
à l'exemple de la brillante orchestration du maître, héritage qui devait
porter des intérêts composés entre les mains de l'élève. Cette
influence se montre pour la dernière fois et grandement atténuée dans
l'_Oiseau de Feu_ et se réduit à l'emploi caractéristiquement national
du matériel thématique. On peut remarquer en passant que l'élément
national est une question secondaire dans la musique de Strawinsky, et
que l'expression personnelle prédomine toujours; il est par dessus tout
un _musicien_, et seulement occasionnellement un musicien _russe_,
exactement comme Pouchkine était, d'abord et avant tout, un poète qui
dut au seul hasard de la naissance de s'exprimer en russe. Mais chez
Strawinsky l'idiome national ne passe qu'immédiatement après
l'expression universellement humaine, sans quoi nous n'aurions jamais eu
_Petrouchka_. Dans ce ballet, que considèrent encore comme son chef
d'oeuvre ceux qui ne peuvent le suivre plus loin, il a certainement
atteint sa pleine maturité et révèle complètement sa personnalité.
Considérer la musique de _Petrouchka_ comme uniquement descriptive,
ainsi que l'auditeur occasionel peut être tenté de le faire, c'est
s'abuser entièrement. Chez Strawinsky, ainsi qu'on l'a déjà vu dans
l'_Oiseau de Feu_, où elle est plutôt un récit qu'une illustration, la
musique n'est jamais subordonnée à quoique ce soit d'autre, même
lorsqu'elle se trouve alliée à des conceptions littéraires, théâtrales
ou chorégraphiques. C'est un organisme séparé et qui demeure toujours de
la musique absolu s'adressant aux sens bien plus qu'à l'intellect. Elle
n'est pas explicative, mais parallèle, c'est un stimulant qui éveille
d'autres idées; de là la possibilité de donner du _Sacre du Printemps_
deux expressions chorégraphiques entièrement différentes. La tendance à
attacher, à un scenario, de la musique pure qui, si analogue qu'elle
puisse être par le sentiment, en demeure cependant indépendante, se
montre au plus haut point dans l'_Histoire du Soldat_ et dans _Renard_.
Que la musique de la première, par exemple, puisse être goûtée
séparément, comme de la musique pure et simple, on en a eu la preuve par
plus d'une exécution au concert, et on peut l'avoir aussi en jouant chez
soi l'arrangement en Trio (piano, violon et clarinette) ou la suite pour
piano que l'auteur a faite de quelques uns des principaux morceaux.
Un caractère très remarquable de l'_Histoire du Soldat_ est la manière
dont Strawinsky utilise les ressources des diverses formes de la musique
populaire,--non pas la chanson populaire, mais la musique des foires,
des salles de bal, ou du "music-hall,"--qu'il convertit en formes d'art
éloignées de leur fonction originelle. La _Valse_, le _Tango_, le _Rag_
deviennent entre ses mains des éléments musicaux analogues à ce que
l'_Allemande_, la _Courante_ ou la _Sarabande_ sont devenues entre les
mains des Maîtres anciens. D'autres exemples de cette transformation des
formes vulgaires de la musique se voient dans le _Piano-Rag-music_, dans
le _Ragtime_ pour petit orchestre et piano, dans les deux séries de
pièces faciles à quatre mains, et dans les toutes petites pièces de
piano pour enfants, _les Cinq Doigts_.
Il est difficile d'imaginer que le principe de la musique absolue puisse
être réalisé lorsqu'il est question de paroles mises en musique;
pourtant Strawinsky a réussi à rester fidèle à son idéal, même dans des
oeuvres telles que _Berceuses du chat_, les _Pribaoutki_, les _Quatre
Chants russes_ et les _Trois Histoires pour enfants_. Cela explique de
suite le choix, peut-être inexplicable autrement, de paroles qui n'ont
aucune signification littéraire. Mettre en musique les paroles d'un
grand poète est devenue pour Strawinsky une absurdité, parce qu'à son
avis les vers eux-mêmes sont déjà un équivalent satisfaisant,
complètement et en soi, de l'émotion musicale. Son but n'est pas
d'écrire de la musique qui remplisse le rôle de l'art appliqué, aussi
est-il toujours en quête de textes tout a fait insignifiants ou naïfs
par eux-mêmes, tels que les petits vers populaires russes qu'il a
choisis. Ils le satisfont par leur qualité sonore et rythmique et non
pas par leur qualité littéraire: ils contiennent en eux toutes sortes de
ressources qu'il appartient au compositeur de faire surgir. Strawinsky
est sociable et direct; il écrit simplement pour la satisfaction de
l'exécutant et de l'auditeur à la fois.
Une qualité de l'art de Strawinsky qu'aucun critique ne s'est aventuré à
discuter est sa maîtrise consommée de toutes les ressources
instrumentales. Ses combinaisons de timbres ont toujours pour nous des
surprises en réserve, qui assez étrangement, ne semblent pas s'user
après des auditions répétées. L'un des secrets de l'extraordinaire
résonnance qui étonne l'auditeur est le fait que Strawinsky écrit pour
chaque instrument individuellement comme s'il était lui-même un
virtuose; il lui donne toujours à jouer exactement la sorte de musique
qui convient à son caractère particulier. Il ne transporte pas la même
phrase d'un instrument à l'autre, à moins d'être sûr qu'elle peut
convenir aux deux, et il préfère généralement donner à chacun d'eux
quelque chose d'entièrement différent, quelque chose qui aille
invariablement jusqu'aux profondeurs mêmes de son caractère particulier.
Il en résulte un mélange subtil de rayons de couleurs différentes et de
nuances de lumière et d'ombre, une sorte de formation dynamique des
accords (distincte de la formation harmonique). Dans ses dernières
oeuvres, cette façon d'individualiser chaque instrument est devenue
encore plus intéressante parce que Strawinsky a étroitement adapté le
moyen au but. Il distribue ses accords parmi des instruments de
caractère différent au lieu d'avoir en vue l'unité de couleur, et il
nous laisse ainsi entendre chacune des notes résonnantes comme une
valeur séparée. _L'Histoire du Soldat_ et le _Ragtime_ donnent une
impression d'extraordinaire plasticité: on a ici un parallèle à l'art à
trois dimensions du sculpteur, plutôt qu'à l'illusoire perspective de la
toile du peintre. Mais Strawinsky peut aussi abandonner les trois
dimensions et nous donner une étude de simple contour, parfaitement
satisfaisante, telle qu'on la trouve dans les _Trois pièces pour
clarinette seule_.
Une conception tout-à-fait neuve est le ballet-divertissement: _Les
Noces_ où en plus d'un orchestre d'où la masse habituelle des cordes est
exclue, l'on trouve quatre voix et un choeur qui supportent toute la
sonorité, quelquefois alternativement, quelquefois combinés avec elle,
sans une simple interruption durant tout le cours de l'oeuvre. La
musique des _Noces_, comme du reste toutes les dernières oeuvres de
Strawinsky, s'adressant directement et uniquement à l'ouïe de
l'auditeur, est une nouvelle affirmation de cette réaction contre
l'expression subjective en musique dont on trouve tant d'adeptes parmi
les plus grands musiciens du 19e et du commencement de notre siècle.
S'il fallait le comparer à quelque maître d'autrefois, on lui trouverait
assurément plus d'affinité avec Haydn et Mozart qu'avec ceux-là, et il
est moins surprenant que ceux qui ne connaissent que superficiellement
son oeuvre pourraient le croire, de voir qu'il a trouvé une tâche qui
lui convenait parfaitement lorsqu'il a composé sur des morceaux de
musique de Pergolèse le ballet _Pulcinella_, tâche dont il s'est
acquitté avec une délicatesse et un respect que seul pouvait posséder un
esprit de la même famille.
[Décoration]
[Illustration: IGOR STRAVINSKY
chansons plaisantes
pour une voix et huit instruments
j. & W. Chester Ltd Londres & Genève]
[Music: [Russian: Zhar' Ptitza]--L'oiseau de feu]
[Music: D'après le manuscrit original, propriété du Conservatoire de
Musique de Genève.]
WORKS BY OEUVRES PAR
=IGOR STRAVINSKY=
=PIANO=
_s. d._
=Les Cinq Doigts=, 8 Pièces très faciles sur 5 notes 3 0
=Piano Rag-Music= 3 0
=Ragtime= 4 0
=Grande Suite de "L'Histoire du Soldat"= 15 0
=PIANO SCORES--PARTITIONS POUR PIANO=
=Pulcinella=, Ballet d'après la musique de Pergolesi 15 0
=PIANO (Four Hands--Quatre Mains)=
=Trois Pièces Faciles=, Marche--Valse--Polka 2 6
=Cinq Pièces Faciles=,
Andante--Española--Balalaika--Napolitana--Galop 3 6
=CLARINET SOLO--CLARINETTE SEULE=
=Trois Pièces pour Clarinette seule= 3 0
=CHAMBER MUSIC--MUSIQUE DE CHAMBRE=
=Berceuses du Chat=, pour Contralto et 3 Clarinettes
Score--Partition 6/- Parts--Parties 6 0
=Pribaoutki= (=Chansons plaisantes=), pour une Voix, Flûte, Hautbois,
Clarinette, Basson, 2 Violons, Alto et Violoncelle
Score--Partition 8/- Parts--Parties 10 0
=Suite de "L'Histoire du Soldat"=, pour Clarinette, Violon et Piano
20 0
_All Prices net cash_
_Les Prix pour la France, la Belgique et la Suisse sont à raison de
fr. 1.50 par shilling_
WORKS BY OEUVRES PAR
=IGOR STRAVINSKY=
=ORCHESTRA--ORCHESTRE=
_s. d._
=Musique de "L'Histoire du Soldat"=, pièce lue, jouée et dansée, texte
de C. F. Ramuz
On Hire--En location
=Suite de "L'Histoire du Soldat"=, pour petit orchestre
On Hire--En location
=L'Oiseau de Feu=, Suite, réorchestrée pour orchestre
moyen--re-orchestrated for medium orchestra. Score--Partition 40 0
Parts--Parties, 50/- Extra Parts--Supplémentaires 5 0
=Marche--Valse--Polka--Galop=, tirées des recueils des pièces
faciles à 4 mains, pour petit orchestre
On Hire--En location
=Chant des Bateliers sur le Volga=, pour Instruments à vent
Score and Parts--Partition et Parties 5 0
=Ragtime=, pour petit orchestre Score--Partition 7 0
Parts on hire--Parties en location
=SONGS--CHANT=
=Berceuses du Chat=, Sur le Poële--Intérieur--Dodo--Ce qu'il a, le
Chat 3 0
=4 Chants Russes=, Canard--Chanson pour compter--Le moineau est
assis--Chant dissident 3 0
=3 Histoires pour Enfants=, Tilimbom--Les canards, les cygnes les
oies--Chanson de l'ours 2 6
=Pribaoutki= (=Chansons plaisantes=), L'oncle Armand--Le Four--Le
Colonel--Le Vieux et le Lièvre 4 0
=Pastorale=, Chant sans paroles 2 0
=VOCAL SCORES--PARTITIONS CHANT ET PIANO=
=Les Noces=, Divertissement--Soli, choeurs et orchestre. In the Press
=Renard=, Conte burlesque 15 0
=Pulcinella=, Ballet d'après la musique de Pergolesi 15 0
_All Prices net cash_
_Les prix pour la France, la Belgique et la Suisse sont à raison de
fr. 1.50 par shilling_
MINIATURE ESSAYS
Essays on the following Composers, published in English and French:
Sont publiés, en français et en anglais, des essais sur les
compositeurs suivants:
GRANVILLE BANTOCK
ARNOLD BAX
LORD BERNERS
ARTHUR BLISS
ALFREDO CASELLA
L'ECOLE DES "SIX"
MANUEL DE FALLA
EUGENE GOOSSENS
GABRIEL GROVLEZ
JOHN R. HEATH
JOSEF HOLBROOKE
GUSTAV HOLST
D. E. INGHELBRECHT
JOHN IRELAND
JOSEPH JONGEN
PAUL DE MALEINGREAU
G. FRANCESCO MALIPIERO
ERKKI MELARTIN
SELIM PALMGREN
ILDEBRANDO PIZZETTI
POLDOWSKI
JEAN SIBELIUS
IGOR STRAVINSKY
_Price 6d. (fr. 0.75) each_
J. & W. CHESTER Ltd.
11, Great Marlborough Street, London, W.1
Corrections
The first line indicates the original text, the second the corrected
text:
La première ligne indique le texte original, la deuxième le texte
corrigé:
p. 7: satisfiying study in mere contour
satisfying study in mere contour
p. 9: la capitale assidu au Théatre Marie
la capitale assidu au Théâtre Marie
bien qu'il souhaitât le voir
bien qu'il souhaitât le voir
p. 10: assez originales pous l'amener
assez originales pour l'amener
p. 11: à des conceptions littéraires, théatrales
à des conceptions littéraires, théâtrales
p. 13: phrase d'un instrument a l'autre
phrase d'un instrument à l'autre
une sorte de formation dinamique
une sorte de formation dynamique
s'adressant directemant
s'adressant directement
en musique dout ou trouve
en musique dont on trouve
les plus grands musicians
les plus grands musiciens
p. 17: Conservatoire de Musique de Geneve.
Conservatoire de Musique de Genève.
Erratum
p. 6: "Four Chants Russes" and the "Three Histoires pour Enfants."
should be "Quatre Chants Russes" and the "Trois Histoires pour
Enfants."
End of Project Gutenberg's Miniature essays: Igor Stravinsky, by Anonymous
*** END OF THIS PROJECT GUTENBERG EBOOK MINIATURE ESSAYS: IGOR STRAVINSKY ***
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