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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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Octet (1919–23), Cinq pièces monométriques (frags.; 192?), Concerto for Piano and Winds (1923–24)

Octet (1919–23), Cinq pièces monométriques (frags.; 192?), Concerto for Piano and Winds (1923–24)

Chapter:
(p.248) 7 Octet (1919–23), Cinq pièces monométriques (frags.; 192?), Concerto for Piano and Winds (1923–24)
Source:
After the Rite
Author(s):

Maureen A. Carr

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199742936.003.0007

The proximity of the sketches for the Fugue (Variation E of the Octet) to Stravinsky’s experiments with meter and tempo in Cinq pièces monomètriques (Sketchbook VII) suggests that these early sketches for the Octet (together with another sketch that followed the sketches for the Piano-Rag-Music and that might have been written as early as 1919) deserve closer scrutiny. The location of the compositional sketches for Concerto for Piano and Winds (1923–24) is unknown at the present time, except for the single sketch found at the Paul Sacher Stiftung. However, the summary sketches (housed at the Stravinsky archive) have a few pages of compositional sketches that are helpful. The intrigue about this work is that Stravinsky performed it 40 times, and he has listed the dates and places of these performances inside the score that he used. (I examined this score at the Stravinsky Archive.)

Keywords:   Octet, Cinq pièces monomètriques, Piano-Rag-Music, Concerto, Claudia Vincis, Koussevitzky, Marianne Kielian-Gilbert

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