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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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Pulcinella (1919–20), Les cinq doigts “Larghetto” (1921), and Mavra (1921–22)

Pulcinella (1919–20), Les cinq doigts “Larghetto” (1921), and Mavra (1921–22)

Chapter:
(p.201) 6 Pulcinella (1919–20), Les cinq doigts “Larghetto” (1921), and Mavra (1921–22)
Source:
After the Rite
Author(s):

Maureen A. Carr

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199742936.003.0006

The musical sources for Stravinsky’s Pulcinella are known because most of them were given to him by Diaghilev. Stravinsky wrote his earliest compositional sketches for this work directly on these manuscript pages—most of which are preserved at the Stravinsky archive of the Paul Sacher Stiftung. Other sketches can be found at the British Library. Interestingly, Mikhail Druskin expressed the idea that Mavra could be considered the Russian equivalent of Pulcinella in that Stravinsky based it on literary sources. For Pulcinella, Stravinsky’s collaborators were Picasso and Massine. For Mavra, Stravinsky used a text by Pushkin. The musical outcome for Mavra is much more complex than Pulcinella, as Stravinsky was experimenting more deliberately with contrapuntal models than in Pulcinella.

Keywords:   Pulcinella, Mavra, Les cinq doigts, Larghetto, Mikhail Druskin, Theodor Adorno, Quasi Una Fantasia, Picasso, Massine, Pushkin

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