This septet is an absolute key work in Stravinski's production. It marks the moment when he is switching from neoclassicism to 12-tone row technique, under the influence of Robert Craft and especially by the quartet op. 22 of Webern (violin, saxophone, clarinet, piano)
@@SulsfortObviously your question is perfectly relevant, but honestly I do not think so. Actually, there has always been a deep reluctance from Stravinski to Schoenberg's work, which he considered as post-romantic or expressionist. Remember that they lived for long years in California both actually as emigres, a few kilometres from each other, and that non o f them paid a single courtesy visit to the other. On the opposite, Stravinsky felt attracted by Webern's constructivism under Craft's influence, and it ids Craft himself which explained that the key step was made under op. 22 influence which is odd; I would rather have though of op. 21, 24, 27 or 28.
+David Dolatowski Thank you very much for expressing your appreciation. I could take with me this music on the traditional desert island. In addition to a Swiss boxcutter, of course...
It's not a brilliant piece. The fast tempo should reflect 1954 tempi for similar Bach movements, as Stravinsky's own mono recording showed. And the central movement is far too slow. The weighting of the rhythmic attack is wrong. Who are these musicians?
Allanfearn European Solists Ensemble Vladimir Ashkenazy, pianist and conductor. Your ears are strict, but your eyes are inattentive. You can find this information by clicking the symbol on the right of the title.
![Igor Stravinsky - Mass for chorus and double wind quintet [With score]](http://i.ytimg.com/vi/iRi_MDy_ks0/mqdefault.jpg)
Tfw instead of proceeding, you turn right and become a shadow monster man
This septet is an absolute key work in Stravinski's production. It marks the moment when he is switching from neoclassicism to 12-tone row technique, under the influence of Robert Craft and especially by the quartet op. 22 of Webern (violin, saxophone, clarinet, piano)
Isn't there even more influence of the suite for 7 instruments op. 29 by Schoenberg?
@@SulsfortObviously your question is perfectly relevant, but honestly I do not think so. Actually, there has always been a deep reluctance from Stravinski to Schoenberg's work, which he considered as post-romantic or expressionist. Remember that they lived for long years in California both actually as emigres, a few kilometres from each other, and that non o f them paid a single courtesy visit to the other. On the opposite, Stravinsky felt attracted by Webern's constructivism under Craft's influence, and it ids Craft himself which explained that the key step was made under op. 22 influence which is odd; I would rather have though of op. 21, 24, 27 or 28.
Really loved this piece! Thanks for adding this to youtube.
+David Dolatowski Thank you very much for expressing your appreciation. I could take with me this music on the traditional desert island. In addition to a Swiss boxcutter, of course...
Petscop 12
Petscop 12
hell yeah
All these armchair critics. This is a beautiful chamber piece by the master who knew how to sew rhythms together.
I totally agree with you!
@@MrVektriol It is also a remarkably clear performance.
i know why you are here and passacaglia is what you are looking for ;)
ayy nice thanks
Do you remember being born?
its petscop 12
Hindemith…Martinu…
Yes, but better. There is a sparkling quality in this piece that one finds but seldom in the music of the others.
Quitter
It's not a brilliant piece. The fast tempo should reflect 1954 tempi for similar Bach movements, as Stravinsky's own mono recording showed. And the central movement is far too slow. The weighting of the rhythmic attack is wrong. Who are these musicians?
Allanfearn
European Solists Ensemble
Vladimir Ashkenazy, pianist and conductor.
Your ears are strict, but your eyes are inattentive. You can find this information by clicking the symbol on the right of the title.
You are completely right!