Igor' Fëdorovič Stravinskij Agon Video
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Igor Stravinsky McLean Jorge Mester Louisville Orchestra 1967 1975 1976 1977
LOUISVILLE ORCHESTRA, JORGE MESTER, Conductor: Recorded on Louisville Orchestra First Edition Records LS 762. 1976 Priscilla McLean THE THEME: Taken from “Four Russian Peasant Songs”--song #4: “Master Portley” by Igor Stravinsky, for baritone voice and three-part women’s choir. The music divides neatly into three distinct musical sections. The first phrase is the baritone solo, like a cantor’s, singing the story. The second and third phrases are the choral answer, sung in two different harmonic planes. Here the folk song is not changed except through orchestration, laying out the theme. VARIATIONS 1-3, and 5: Each uses its own formal design, developing fragments of the original theme, interplayed with Priscilla McLean’s melodic and harmonic themes and motives. MOZAICS (VARIATION 4): Composed at a later time (1975, the first variations written in 1967-69), “Mozaics” uses the techniques of alternation of brief sections and interruption, using melodic and harmonic motives often directly taken from the original “Theme”. This movement, inspired by Stravinsky’s “Agon”, is a tribute/parody to the later styles of Stravinsky. The Bb clarinet has a jaunty, jazzy tune which makes the quality of this variation very light and humorous. VARIATION 6: Beginning with an introductory section, this last variation gradually evolves into a recapitulation of the original “Theme”. The theme expands with repetition until the broad climactic section that juxtaposes the original folk music and a slower variation of it, found in the horns, ending the work in a grandiose gesture of affirmation. VARIATIONS & MOZAICS was premiered by the Indianapolis Symphony, Oleg Kovalenko, Conductor in 1975. The revised version was premiered by The Louisville Orchestra at Kennedy Center in 1977, conducted by Jorge Mester, and subsequently recorded. / If you enjoyed this video, we invite you to take a peek at our McLean Playlist, with 96 videos and counting, at: (http•••) ...And look at our new web site at: (http•••) There's audio and video streaming, along with free score downloads.
Wdr Sinfonieorchester Köln Igor Stravinsky Michael Gielen 2008
Provided to YouTube by NAXOS of America Agon: Gaillarde · WDR Sinfonieorchester Köln Stravinsky, I.: Canticum Sacrum / Agon / Requiem Canticles ℗ 2008 SWR Classic Released on: 2008-09-01 Conductor: Michael Gielen Orchestra: WDR Sinfonieorchester Köln Composer: Igor Stravinsky Auto-generated by YouTube.
Christian Elsner Elsner Igor Stravinsky Rosen Swr Vokalensemble Stuttgart Wdr Sinfonieorchester Köln 2008
Provided to YouTube by NAXOS of America Canticum sacrum ad honorem Sancti Marci nominis: Ad Tres Virtutes Hortationes: Fides - · Christian Elsner Stravinsky, I.: Canticum Sacrum / Agon / Requiem Canticles ℗ 2008 SWR Classic Released on: 2008-09-01 Artist: Christian Elsner Artist: Rudolf Rosen Choir: SWR Vokalensemble Stuttgart Orchestra: WDR Sinfonieorchester Köln Composer: Igor Stravinsky Auto-generated by YouTube.
Igor Stravinsky Cathy Berberian Schoenberg Smyth 1939 1964 1966 1971 1979 1999
Elegy for J.F.K. is a piece of vocal music composed by the Russian-born composer Igor Stravinsky in 1964, commemorating the assassination of U.S. President John F. Kennedy. After the outbreak of World War II and his emigration to Los Angeles, California, in 1939, Stravinsky continued to work within the neo-classical framework, but beginning in the early 1950s turned to various serial techniques, which he used until his death in 1971. Elegy for J. F. K. is scored for baritone or mezzo-soprano accompanied by three clarinets (two B♭ clarinets and an alto clarinet in E♭), and is a twelve-tone serial composition. The text, in four haiku stanzas each of 17 syllables, was written at Stravinsky's request by W. H. Auden in memory of assassinated President John F. Kennedy, and Stravinsky chose to repeat the opening stanza at the end (White 1979, 533–34). Elegy makes use of various textural changes to accommodate the changes in vocal register. The piece is in ternary form, just like the poem, meaning that material is repeated in the first and last nine measures. Various compositional elements suggest the severity of the topic such as the frequent use of da capo, the perfect fifth D♯–A♯ in the clarinets from mm. 7–8, and the repeated tritone G♯–D throughout. Stravinsky composed the vocal line first, only adding the accompaniment afterward—a working method he likened to Schoenberg's in the Phantasie for violin and piano (Stravinsky and Craft 1966, 58). The row Stravinsky uses for the Elegy, G♯, D, C, A♯, E, F, B, A, G, F♯, D♯, and C♯ is remarkable for the three tritones that occur in the first half (White 1979, 533). This row is related to the two rows Stravinsky previously used in the Bransles movement of Agon and at the words "Te Deum" in The Flood, by reordering the six pitch-class dyads in each row (Smyth 1999, 133–34). A twelve-tone analysis of this piece shows some patterns of the style. As in all twelve-tone music, there is a mathematical relationship between the prime, inverted, and retrograde series. For example, the melody pitches in mm. 1–8 are P0, and the harmonic pitches that the clarinets play are RI0 (D♯, C♯, A♯, A, G, F, B, C, F♯, E, D, and G♯), with some repeated pitches and the perfect fifth of D♯ and A♯ played in mm. 7 and 8. Stravinsky uses the P0 form in all of the measure rows except mm. 9–13 which uses RI0. The words for these measures have the lyrics “'Why then? Why there? Why thus,' We cry, 'did he die?'”/ If you like this video subscribe to my channel. There are many more videos like this one lovingly prepared and edited by myself for your enjoyment! Check out my extensive playlist collections as well.
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