Igor Stravinsky: The Man and His Music

By Alexandre Tansman; Therese Bleefield et al. | Go to book overview

Introduction

NO ARTIST will have provoked so many commentaries, discussions, and polemics, in short, will have stimulated so much critical writing during his lifetime as Igor Stravinsky. Indeed, innumerable essays concerning him--biographical, æsthetic, and analytical--have already been published in every language, and each of his new works serves as a point of departure for discussion and for the revision of former theories. The fact that I have been asked to write a new book on Stravinsky proves that the subject has lost nothing of its current value, and that the question has not as yet been clarified in such a way as to give a sharp and lucid picture of the artistic discipline and the musical and spiritual significance of his work.

How is it that the music critics have seized upon a musician so extremely lettered and yet so unliterary? The slogan, so convenient in its vagueness, "this man will never cease to astonish us," is not only superficial, but, in my opinion, of little value and completely outside the pale of the Stravinsky phenomenon. For, as anyone knows who is intimate with the composer as a man and an artist, noth-

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Igor Stravinsky: The Man and His Music
Table of contents

Table of contents

  • Title Page iii
  • Translators'' Note v
  • Contents vii
  • Introduction ix
  • PART I 1
  • Chapter I- General Outlook 3
  • Chapter II- Stravinsky and the Phenomenon of Music 9
  • Chapter III- Discipline and Attitude 39
  • Chapter IV- Creative Cypology and Craftsmanship 69
  • PART II 141
  • Chapter V- Life and Works (1882-1920) 143
  • Chapter VI- Life and Works (1920-1948) 207
  • Conclusion 275
  • Chronological Catalogue of Works 279
  • Index 287
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