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After the RiteStravinsky's Path to Neoclassicism (1914-1925)$
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Maureen A. Carr

Print publication date: 2014

Print ISBN-13: 9780199742936

Published to Oxford Scholarship Online: October 2016

DOI: 10.1093/acprof:oso/9780199742936.001.0001

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Stravinsky at the Crossroads between Primitivism and Neoclassicism

Stravinsky at the Crossroads between Primitivism and Neoclassicism

Renard [Bajka] (1915–16) and Histoire du soldat (1917–18)

Chapter:
(p.64) 3 Stravinsky at the Crossroads between Primitivism and Neoclassicism
Source:
After the Rite
Author(s):

Maureen A. Carr

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199742936.003.0003

As a lesser-known work, Renard is significant in the evolution of Stravinsky’s compositional process. One of the reasons why Renard might not be taken seriously in analytical circles could be related to the monolithic nature of the dynamics that tend to “mask” the intriguing stylistic nuances. In addition, the instrumentation favors extreme registers, resulting in a strident soundscape. Furthermore, it is difficult to listen to this ballet-burlesque in isolation without seeing the interaction of the acrobats and clowns that Stravinsky intended for this dramatic work. A performance in Russian by the London Sinfonietta epitomizes these goals. Renard is related to Histoire du soldat not only because both works represent collaborations between Stravinsky and Ramuz but also because the compositional process between the two works represent an evolution in Stravinsky’s style.

Keywords:   Charles-Ferdinand Ramuz, Mikhail Larionov, Renard, Pribaoutki, Histoire du soldat, Elliott Carter, unified fragmentation, discrete blocks

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