Variations in Memoriam Aldous Huxley; Introitus in Memoriam T. S. Eliot; Abraham and Isaac; Requiem Canticles

Wilfrid Mellers;  Stravinsky; Gregg Smith Singers; Ithaca College Concert Choir; Columbia SO; Chamber Ensemble;  Craft

doi:10.2307/955865

Variations in Memoriam Aldous Huxley; Introitus in Memoriam T. S. Eliot; Abraham and Isaac; Requiem Canticles

The Musical Times ◽

10.2307/955865 ◽

1970 ◽

Vol 111 (1534) ◽

pp. 1237

Author(s):

Wilfrid Mellers ◽

Stravinsky ◽

Gregg Smith Singers ◽

Ithaca College Concert Choir ◽

Columbia SO ◽

...

Keyword(s):

Aldous Huxley ◽

In Memoriam ◽

Requiem Canticles

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І. Stravinsky’s orchestral writing of Neo-Classical and serial (late) periods: comparative analysis

Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education ◽

10.34064/khnum1-60.02 ◽

2021 ◽

Vol 60 (60) ◽

pp. 36-56

Author(s):

Savchenko Hanna

Keyword(s):

Comparative Analysis ◽

Musical Language ◽

Aldous Huxley ◽

Evolutionary Perspective ◽

Functional Organisation ◽

In Memoriam ◽

Definition Of ◽

Special Examination ◽

Bare Minimum

Statement of the problem. Neo-Classical and serial (late) periods of I. Stravinsky’s creativity are marked by the shifts in his musical language, which found their reflection in his orchestral writing. “Universals” of style and genre (term of Savenko (2001: 105–163) retain their relevancy. Constant principles of orchestral writing (multi-figure composition, combinatorics and plastique) are used in different combinations. Analysis of recent research and publications. While there are numerous studies devoted to I. Stravinsky’s Neo-Classical and serial (late) periods, no works have composer’s orchestral thinking and orchestral writing as an object of special examination. Thus, scarce studies regarding aspects of composer’s orchestration become even more valuable: about orchestral texture (Schnittke, 1967; Schnittke, 1973, Savenko, 2001; Kashyrtsev, 2020), or interpretation of timbres (Savenko, 2001; Savenko, 2011, Kashyrtsev, 2020), or interconnection of orchestral and harmonically-modal thinking (Gurkov, 1987), or editions (Timofeev, 2014; Timofeev, 2019). The purpose of this article is an examination of specifics of I. Stravinsky’s orchestral writing from the standpoint of peculiarity of application of constant principles of orchestral writing (multi-figure composition, combinatorics and plastique) in the ballet “Jeu de cartes” and the Variations (Aldous Huxley in Memoriam). The novelty of the article is caused by: 1)reveal of beforementioned principles; 2) examination of their existence in evolutionary perspective; 3) bringing attention to relevant problems of orchestration in I. Stravinsky’s works of Neo-Classical and late periods of creativity; 4) formulation of original scholarly definition of the term “orchestral writing”. Methods. In this article stylistic method is used – to study evolutionary processes of composer’s style in dialectic unity of constant and innovative; functional – to examine specifics of functional organisation of orchestral texture; comparative – to reveal different ways in which constant principles of orchestral writing are used on different stages of composer’s evolution. Results and Conclusions. Constant principles of orchestral writing (multifigure composition, combinatorics and plastique), which have already emerged in the primary period, are present in the works of Neo-Classical and late periods in different configurations of their relations. In the ballet “Jeu de cartes” multi-figure composition loses its role in comparison to the early works and is applied hidden due to: 1) motive variants (with the motives being stressed by timbre, texture or register); 2) textural complementarity (which means that multiple figures are used in timbrally-textural algorithm); 3) creation of “protracted” melody, in which the role of motivic “formula” is reduced (which is typical for I. Stravinsky’s Neo-Classical period). At the same time, continuity emerging in Neo-Classical works meets the tendency towards discretion due to influence of such principles as combinatorics and plastique, which retain their relevancy, being realised in different variants in the conditions of functional “clarity” of a texture, as it is a trait of composer’s Neo-Classical musical idiom. The orchestral writing of the Variations (Aldous Huxley in Memoriam) is defined by the principle of combinatorics with the usage of plastique. Serial technique contributed to its reveal. At the same time, the role of multi-figure composition is reduced to a bare minimum, which was caused by rejection of melodic “formularity”.

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