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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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Piano Sonata (1924) and Serenade in A (1925)

Piano Sonata (1924) and Serenade in A (1925)

(p.263) 8 Piano Sonata (1924) and Serenade in A (1925)
After the Rite

Maureen A. Carr

Oxford University Press

Having transcribed and analyzed the fascinating compositional sketches for Sonata and Serenade at the Stravinsky archive, I observed how Stravinsky’s compositional process for these two works is shown through his reliance on the classical piano repertoire. For example, a very prominent quotation from a Mozart Sonata is found in the sketches for Stravinsky’s Sonata in different places within the sketches. Yet, in Stravinsky’s final rendition of the Sonata, his quotation from the Mozart excerpt is rather insignificant. In the sketches for the Serenade, Stravinsky repeats a different quotation in several places. As with the Mozart fragment in the Sonata, this example does not seem to be significant in the published edition. In both cases, Stravinsky seems to be using these sources as “musical conduits.”

Keywords:   Piano Sonata, Serenade in A, Bach, Beethoven, Chopin, Charles Rosen, Boris de Schloezer, Roman Vlad, Alfredo Casella

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