Igor Stravinsky: Defining The Future In Music

Igor Stravinsky, popularly recognized as a leading founder of Modern music in the 20th century, was born in Russia on this day in 1882. He lived in Switzerland and France before immigrating to the United States after World War II. Over his lifetime he composed in a variety of styles but is best remembered for his dazzling, rhythmic music in the early years - 1910 to 1914 - of the Ballets Russes produced by Sergei Diaghilev in Paris.

Portrait of Stravinsky                     Robert Delaunay, 1917

His work during that brief period included The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913). One could say they are all signature pieces - experimental and revolutionary - that dazzled and in some cases infuriated their audiences. Regardless, the three compositions as well as other sounds from Stravinsky's imagination had a huge impact on music and the arts. He was 27 when audiences first heard The Firebird. Keep in mind that Henry Ford sold 10,000 cars that year, the U.S. had 1000 miles of paved road, half the American population lived on farms or towns with fewer than 2500 people, and the flying machine was a very rare and thrilling sight.

In the century since the premiere of The Firebird, its innovative sounds have been re-patterned by the likes of Aaron Copeland, Leonard Bernstein, John Williams and others including Philip Glass who has perhaps carried rhythm as art to its farthest horizon to date. In the view of Tom Service writing in The Guardian in 2011,

Stravinsky is the only common influence that composers from Steve Reich to Thomas Adès, from Judith Weir to John Adams, from Elliott Carter to Louis Andriessen, can all agree on. Without Stravinsky, there would be no minimalism, not much neo-classicism, not enough rhythmic energy, and not nearly enough compositional freedom in the 20th and 21st centuries. Four decades on, the Stravinsky that's proved most popular with audiences, orchestras and concert halls is the colouristic brilliance of the three early ballets, Firebird, Petrushka, and the Rite.

Indeed, Stravinsky broke rules. In doing so he made new music. A century later it remains as fresh as the year it was composed. And although Stravinsky left this world almost a half century ago he indeed remains as the title of Service's article describes him, "Stravinsky Our Contemporary." Here's more proof with excerpts from a November 2019 concert by the Los Angeles Philharmonic under the baton of the brilliant conductor, Gustavo Dudamel. The Rite of Spring is one of the orchestra's signature pieces.

Some say the most productive experiments often make the biggest messes until they are better understood. The genius and madman in Stravinsky would very much agree.

For more on the place of dissonance in Stravinsky's music here is an entertaining seventeen minute journey on the subject by the British composer, Davis Bruce. This video can be as technical as you want to make it. By no means am I a musical technician so I enjoyed it by simply listening to how Stavinsky's used dissonance to create some of the most popular music of the last century.

Sources

Photos and Illustrations:
portrait, public domain, Robert Delaunay, New Art Gallery Walsall, West Midlands, England

Text:
Igor Stravinsky entry, Wikipedia.org
quotation, Tom Service, "Stravinsky Our Contemporary", theguardian.com, April 6, 2011