With a work full of astonishing shapes, phrases and rhythms, Balanchine and Stravinsky made America ballet’s new home. Abstract: Igor Stravinsky’s last ballet, Agon () is an enigmatic entanglement of tonal, serial, and twelve-tone compositional procedures in conjunction with. By the time it was finished, some four years later, Agon had turned out unlike anything Kirstein had at one point sent Stravinsky a seventeenth-century dance .

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The composition’s long gestation period covers an interesting juncture in Stravinsky’s composing career, in which he moved from a diatonic musical language to one based on twelve-tone technique ; the music of the ballet thus demonstrates a unique symbiosis of musical idioms. Agon ‘Ballet for twelve dancers’ composer. Kirstein had at one point sent Stravinsky a seventeenth-century dance manual with music examples, and the composer plundered this volume for rhythmic and melodic ideas which, however, he mostly twisted beyond recognition.

The Mravinsky Legacy, Vol. The Complete Columbia Album Collection. Agon is scored for a large orchestra consisting of piccolo3 flutes2 oboesEnglish horn2 clarinetsbass clarinet2 bassoonscontrabassoon4 horns4 trumpets, strabinsky trombones 2 tenor, 1 bassharppiano, mandolintimpanitom-tomxylophonecastanetsand strings.

In other projects Wikimedia Commons. In the first chapter, Artistic Interminglings: The increasingly advanced nature of Stravinsky ‘s music is matched by the plotless scenario he chose for Agon, which features eight female and four male dancers.

Stravinsky laid out the ballet in a duodecimal form, with four large sections each consisting of three dances. The orchestra includes several passages with mandolin solos. Listen to the violin solo in the sarabande, with its tortuous chromatic embellishments, or try to catch the dance rhythm in the galliard, with its astonishing reinvention of the orchestra double basses with flutes at the top, thick cello and viola chords at the bottom, and in the middle a barely audible canon at the fifth between mandoline and harp.


These three dances together constitute the second pas-de-trois Stdavinsky His fertile mind kept throwing up possible subjects: Sony Classical Essential Classics.

Igor Stravinsky and Agon.

A Prelude and two Interludes occur between the large sections, but this does not fundamentally affect the twelve-part design because their function is caesural and compensatory White— Please enable JavaScript in your browser to use the site fully. From Wikipedia, stravinsjy free encyclopedia.

Earlier in the work, Stravinsky had employed a seventeen-tone row, in bars —, and evidence from the sketches suggests a close relationship between these two rows Smyth, — Le Sacre du Printemps. Even a cursory comparison with the music of Stravinsky ‘s Russian and neo-Classic periods strikingly demonstrates just how far the composer’s musical language had evolved by the time of Agon. Introspection Late Night Partying. By using this site, you agree to the Terms of Use and Privacy Policy.

Those hexachords first appear separately in the Bransle Simple for two male dancers and Bransle Gay for solo female dancerand are then sgravinsky to form a twelve-tone row in the Bransle Double. This section contains information of unclear or questionable importance or relevance to the article’s subject matter.

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Ballets by George Balanchine.

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The ballet’s 12 movements are divided into four groups of three each. Each section is scored for a different combination of instruments. September Total duration: The Stampa Sera of Turin gave great prominence to this episode. There are a number of relationships between the various sections of the ballet.

In sorting out this puzzle, I have undertaken an interdisciplinary approach, one involving art history, traditional music analytical techniques, and linguistic theory.

Drinking Hanging Out In Love. Picasso, Cubism, and Stravinsky’s Compositional Approach, I draw the parallel between Pablo Picasso’s artistic approach during his Cubist period and Stravinsky’s compositional approach, delineating three common elements between the two artists: Just when Kirstein was bombarding him with ideas that presupposed another classical project, Stravinsky was writing small vocal and instrumental works in a spikier modern style using a limited serial method distantly derived from Schoenberg and Webern.

The idioms survive in dances like the Sarabande-Step, Gaillarde and Bransle, while the Pas de quatre and Pas de deux are, in name at least, echoes of the later classicisms we saw also in Jeu de cartes and Orpheus.

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