Fantastic music! Balanchine choreographed Sym in 3 for the 1972 Stravinsky Festival and it has become an enduring classic in New York City Ballet's rep.
This piece was written over his first impressions of Manhattan.! This marvelous rhythmical composer with a sharp ear always for exciting harmonies here accomplished an absolute masterpiece!
Stravinsky, as a general rule, rarely spoke on the extramusical references and inspirations of his work, but this symphony is one of the prominent exceptions to that rule. In the program notes during the work's premiere in NYC, he had argued that he considered it to be purely absolute, with no extramusical references (an attitude which was corroborated in his autobiography a decade prior to the debut of the Symphony: "I consider that music, by its very nature, is essentially powerless to express anything at all…"¹). However, in Robert Craft's book Dialogues and Diary, published in 1963, Stravinsky made the case that the work was actually composed as a reaction to events surrounding World War II (e.g. the first movement was inspired by the Japanese scorched earth tactics utilized in the Chinese theatre)². However, even despite this, he does close discussion on the piece with the remark: "But enough of this. In spite of what I have said, the Symphony is not programmatic. Composers combine notes. That is all."³ So no, this particular piece wasn't inspired by Manhattan. There are elements of American music, particularly jazz, that Stravinsky does use throughout the piece. However, the extramusical connotations of the piece, if Stravinsky ever intended any, were wholly separate from Manhattan itself. Sources: ¹ - Stravinsky, Igor. An Autobiography. (New York: Simon and Schuster, 1935), 53. ² - Craft, Robert. Dialogues and Diary. (Garden City, New York: Doubleday, 1963), 83-85. ³ - Ibid., 85.
You might be thinking of the last two movements of the earlier Symphony in C. And probably the boulevards of Los Angeles! But they certainly share the shame open-eyed motoric thrill.
listening to this today in 2021, still blows our minds. immaculate irregular rhythms, effective pandiatonic soundscapes, every musical gesture of Stravinsky is meaningful and not just written.
But unlucky to have his music, which is uninteresting. As he himself was--have you read his lectures? What a prig, and how old-fashioned and trite his ideas are! He's like some arid Jansenist. It's like he stepped out of a Bresson film.
A true inventor of new music. Thanks for sharing score. Love the major-minor clashes. If rhythmic precision and attention to subtleties are not adhered to, this would sound like a mess. Beautifully done. Stravinsky uses such simple ideas and rhythmically, metrically, and orchestrally manipulates them into pure genius of outcome.
Especially when he puts dominant notes of a phrase on weak beats and vice versa when he could write it "straight" without the metric changes. But it wouldn't sound the same.
It's one of the rather obvious devices of all Stravinsky's music beginning with Mavra. How empty it is--the persistent criticism of Stravinsky's music.
One of my 20th century faves. Apart from the Big 3, Stravinsky is shamefully ignored. This should be played as often as Bartóks Concerto for Orchestra.
i could be wrong but I gather this euphoric ending was written at almost exactly the same time as the bombing of Hiroshima. Make of that what you will! (I'm pretty sure IS was unaware of the tragedy)
1:18 starts the buildup to one of my favorite timpani moments of all time, really kicks into gear at 1:32. I love how the part emphasizes select notes of the scales the bass instruments are playing (the 3 notes of the C major triad), while also making the section groovy as hell with syncopation as a result of the scales occasionally changing their starting pitch. It's just great writing.
Should say that it doesn't follow it exactly, when the scales have a B, the timpani plays G. It's a fast and intense section, guessing it would be too much to tune down to a B for one note. Timpani switches to a G major triad right after this section, though Stravinsky gives the timpanist time to make this switch.
Igor Strawinsky un verdadero Coloso en Ideas Musicales, Orquestación Perfecta y de Gran Equilibrio y su Magia con EL RITMO. MARAVILLÓ Y PARA SIEMPRE GRANDE.
Igor Sztravinszkij:Szimfónia három tételben 1.Nyitány:Allegro 00:05 2.Andante; Interlude: L'istesso tempo 09:54 3.Con moto 16:30 Berlini Filharmonikus Zenekar Vezényel:Pierre Boulez
I love to find out the this was his impression on seeing NYC. I've always thought the score perfect to describe a big boned modern city. A noir quality too. Edgy and lean.
Yes, 'noir' is just right, but more likely to be Los Angeles, where he was living at the time (Hollywood, to be precise) I was watching 'Kiss me Deadly' the other evening and was looking out for Igor walking along Sunset Boulevard (1955)!
This is miles away from Stravinsky himself in his first, New York recording (how much of the second was actually conducted by Robert Craft we shall never know). You wouldn't have expected Boulez to have been that interested in it, and he doesn't sound more than his usual professional self, but he is surely trying to distance it from the Rite of Spring even when Stravinsky himself as conductor seems to be referring directly to it,
21:49-21:51 I defy anyone who says that Jerry Goldsmith didn't "borrow" this 'lick' from the Master Stravinsky for the 1968 movie, "Planets of The Apes"? He even modified it in movies like "Capricorn One". Don't get it twisted, Jerry Goldsmith was a genius as well, but he definitely knew who the real "Master" was. Igor was a genius on so many levels❤❤❤
Hell, Pierre! I would have insisted on a retake of that first bar; the great Berlin Phil is not together on either the first of the third beat. Didn't anyone notice?!
Part 2 09:54 was written for the film "The Song of Bernadette". What you hear is what he intended for Bernadette's first meeting with her lady. I'm sorry they went with Alfred Newman instead, because this has a more unusual, otherworldly feel to it. If you're going to write music for young women meeting the Virgin Mary on an otherwise completely ordinary after-school errand, you want it to sound like this. Maybe they could use it for a film about Garabandal.
Good thing I'm not a bassoonist, because I have listened to the double solo in the third movement dozens of times but I cannot get the rhythm absolutely correct, at least not in the second bassoon. Halfway through, the oddly placed accents throw me off.
I am a retired Bassoonist and worked with many of the London orchestras after leaving the BBC Philharmonic in 1973. I played this work by Stravinsky many times and I can assure you this particular passage is difficult even for professional players. The problem is the passage is in very close cannon and a sort of stutter occurs between the players. Experiments have been made to discover the cause of stutters in speech and it was found that if you record a person speaking and playback a fraction of second later at the same time as speaking, the individual will begin to stutter. This is what happens here in this passage for the players. If even one of the players gets slightly out with the rhythm then the passage falls apart.
There is a mistake in counter-bassoon part two measures before RN 177 . There should be added g flat quaver on the second ( from six) beat and semi quaver c flat must be moved to the beat “four-and” ( the 8th semi quaver in this measure ). If this mistake is fixed in Counter-bassoon part the part of the second bassoon seems to be more logical and much easier to perform.
@@awb222 I'm curious to know whether you discovered this particular error from having actually having performed the contrabassoon part yourself (perhaps from a corrected solo part), or just from analyzing the score on your own. In either case, I agree with you that logically the contrabassoon should continue "shadowing" the piano's left hand part here, as it has mostly been doing since the fourth quaver of reh 175. Note, however, that in order to achieve this, the C-flat should fall directly on the fourth quaver of two-measures-before-reh-177 (rather than on the "and" of beat 4). Also, I suspect the G-flat would logically be a staccato semi-quaver rather than a quaver (just punctuating the piano's sustained notes the same way the C-flat does.) Thanks for bringing this issue to my attention -- there are certainly a number of other errors in the score, but I never noticed this one before!
Diamine, quanto ha copiato Walter Piston da questa sinfonia! E quando ha copiato Stravinsky qui da Bartok! (dal n. 89 un'integrale passaggio arrangiato della musica per celesta, archi e percussione)
Not surprisingly--since it was written in Hollywood--it sounds like a film score. They should have used it The Guns of Navarrone. Ferde Grofe, eat your heart out!
![Igor Stravinsky - Mass for chorus and double wind quintet [With score]](http://i.ytimg.com/vi/iRi_MDy_ks0/mqdefault.jpg)
![Igor Stravinsky - Mass for chorus and double wind quintet [With score]](/img/tr.png)
![Stravinsky: Symphony in C, K061 [Rattle]](/img/n.gif)
Œuvre dynamique et rappelle le Sacre du Printemps. Excellent !
Fantastic music! Balanchine choreographed Sym in 3 for the 1972 Stravinsky Festival and it has become an enduring classic in New York City Ballet's rep.
This piece was written over his first impressions of Manhattan.! This marvelous rhythmical composer with a sharp ear always for exciting harmonies here accomplished an absolute masterpiece!
Dream on!
I don't know where you got such a notion. IS composed this many years after his first visit to Manhattan.
Stravinsky, as a general rule, rarely spoke on the extramusical references and inspirations of his work, but this symphony is one of the prominent exceptions to that rule. In the program notes during the work's premiere in NYC, he had argued that he considered it to be purely absolute, with no extramusical references (an attitude which was corroborated in his autobiography a decade prior to the debut of the Symphony: "I consider that music, by its very nature, is essentially powerless to express anything at all…"¹).
However, in Robert Craft's book Dialogues and Diary, published in 1963, Stravinsky made the case that the work was actually composed as a reaction to events surrounding World War II (e.g. the first movement was inspired by the Japanese scorched earth tactics utilized in the Chinese theatre)². However, even despite this, he does close discussion on the piece with the remark: "But enough of this. In spite of what I have said, the Symphony is not programmatic. Composers combine notes. That is all."³
So no, this particular piece wasn't inspired by Manhattan. There are elements of American music, particularly jazz, that Stravinsky does use throughout the piece. However, the extramusical connotations of the piece, if Stravinsky ever intended any, were wholly separate from Manhattan itself.
Sources:
¹ - Stravinsky, Igor. An Autobiography. (New York: Simon and Schuster, 1935), 53.
² - Craft, Robert. Dialogues and Diary. (Garden City, New York: Doubleday, 1963), 83-85.
³ - Ibid., 85.
Magnifique chef d'oeuvre. Très belle version ❤.
You might be thinking of the last two movements of the earlier Symphony in C. And probably the boulevards of Los Angeles! But they certainly share the shame open-eyed motoric thrill.
listening to this today in 2021, still blows our minds. immaculate irregular rhythms, effective pandiatonic soundscapes, every musical gesture of Stravinsky is meaningful and not just written.
Beautifully put, if I may say so. And don't forget the piano's octatonic boogies in the first movement!
You could always count on PB to make sure the composers intentions were properly performed. The world of modern music was lucky to have him.
But unlucky to have his music, which is uninteresting. As he himself was--have you read his lectures? What a prig, and how old-fashioned and trite his ideas are! He's like some arid Jansenist. It's like he stepped out of a Bresson film.
@@johnryskamp7755 I find his music to be too much head and not enough heart. I prefer Gershwin.
@@johnryskamp7755 Go to hell!How arrogant .
@@stephenjablonsky1941 I don't like Champagne, I prefer Sprite.
Not in all cases. Boulez's recording of Mahler's 5th is too held-back in my opinion.
A true inventor of new music. Thanks for sharing score. Love the major-minor clashes. If rhythmic precision and attention to subtleties are not adhered to, this would sound like a mess. Beautifully done. Stravinsky uses such simple ideas and rhythmically, metrically, and orchestrally manipulates them into pure genius of outcome.
Especially when he puts dominant notes of a phrase on weak beats and vice versa when he could write it "straight" without the metric changes. But it wouldn't sound the same.
It's one of the rather obvious devices of all Stravinsky's music beginning with Mavra. How empty it is--the persistent criticism of Stravinsky's music.
Stravinsky's ideas are always simple because he had no ideas--simply a burning desire to get out of Petersburg.
@@johnryskamp7755 at the very least, it is evident you have no appreciation for complex rhythmical devices 🥸
One of my 20th century faves. Apart from the Big 3, Stravinsky is shamefully ignored. This should be played as often as Bartóks Concerto for Orchestra.
Hey TH-cam, either post your ads before or at the conclusion of any great work of art.
Out of the words. ... My name is Igor and I love music by Stravinsky.
Great work - I've never followed the score before although I've loved this work for over 40 years.
Thanks!
The ending is unreal
i could be wrong but I gather this euphoric ending was written at almost exactly the same time as the bombing of Hiroshima. Make of that what you will! (I'm pretty sure IS was unaware of the tragedy)
Boulez... a great conductor of Stravinsky's works
A pity Boulez's music is just elevator music for crash test dummy factories..
@@psijicassassin7166😕
I wish he had conducted a few more works, e.g. Oedipus Rex.
17:30 is one of my favorite bassoon excerpts. It's so crunchy and off putting but so awesome at the same time.
Like a sneaky walk
Listen to the bassoon duet near the beginning of the Nielsen 5th.
Thanks for sharing - one of my favorites
This wymphony, together with the symphony of psalms, is probably one of the best achievements of the neoclassical Stravinsky.
Exhilarating! This masterwork looks backward to the aesthetic of the Rite and forward to his adoption of serialism. What genius.
That’s what I’ve been trying to say.
A favorite from my favorite composer ❤
The beautiful , limpid second movement is one of my favourite sections of music
Fantastic work. Saw this performed at the Chicago Symphony a decade ago. Stellar performance.
One of his best (if not 'the') best work for smallish orchestra
1:18 starts the buildup to one of my favorite timpani moments of all time, really kicks into gear at 1:32. I love how the part emphasizes select notes of the scales the bass instruments are playing (the 3 notes of the C major triad), while also making the section groovy as hell with syncopation as a result of the scales occasionally changing their starting pitch. It's just great writing.
Should say that it doesn't follow it exactly, when the scales have a B, the timpani plays G. It's a fast and intense section, guessing it would be too much to tune down to a B for one note. Timpani switches to a G major triad right after this section, though Stravinsky gives the timpanist time to make this switch.
Yes, so much better than Bartok, that hack.
Igor Strawinsky un verdadero Coloso en Ideas Musicales, Orquestación Perfecta y de Gran Equilibrio y su Magia con EL RITMO.
MARAVILLÓ Y PARA SIEMPRE GRANDE.
Igor Sztravinszkij:Szimfónia három tételben
1.Nyitány:Allegro 00:05
2.Andante; Interlude: L'istesso tempo 09:54
3.Con moto 16:30
Berlini Filharmonikus Zenekar
Vezényel:Pierre Boulez
three, drei, trois, tre, tres, tri ... három
Thanks for posting this.
0:04 вступ
0:30 г.п
0:47 св.п
1:18 п.п
9:54 тема А 2ч
16:30 гл.п тема военного марша 3ч
I love to find out the this was his impression on seeing NYC. I've always thought the score perfect to describe a big boned modern city. A noir quality too. Edgy and lean.
Yes, 'noir' is just right, but more likely to be Los Angeles, where he was living at the time (Hollywood, to be precise)
I was watching 'Kiss me Deadly' the other evening and was looking out for Igor walking along Sunset Boulevard (1955)!
The final chord is amazing
D flat 9 add 6
This is miles away from Stravinsky himself in his first, New York recording (how much of the second was actually conducted by Robert Craft we shall never know). You wouldn't have expected Boulez to have been that interested in it, and he doesn't sound more than his usual professional self, but he is surely trying to distance it from the Rite of Spring even when Stravinsky himself as conductor seems to be referring directly to it,
Seems? That's because this work takes many passages right out of the Sacre (as well as Pet.).
commenta Stravinskj, il mio preferito .
Wasn't this once upon a time the background music for ads for the TV miniseries of Sidney Sheldon's Rage of Angels?!! Anyone here remember that?
Stravinsky - novus ordo decorum in music.
0:49 John Adams uses a VERY similar rhythm in the strings in The Chairman Dances
Yes, mediocrities do tend to borrow from each other.
@@johnryskamp7755 very funny
Razor sharp. Yum!
14:44
my favorite part of this piece
The progression of this chord reminds me of the evening sunset.
21:49-21:51 I defy anyone who says that Jerry Goldsmith didn't "borrow" this 'lick' from the Master Stravinsky for the 1968 movie, "Planets of The Apes"? He even modified it in movies like "Capricorn One". Don't get it twisted, Jerry Goldsmith was a genius as well, but he definitely knew who the real "Master" was. Igor was a genius on so many levels❤❤❤
Hell, Pierre! I would have insisted on a retake of that first bar; the great Berlin Phil is not together on either the first of the third beat. Didn't anyone notice?!
The results written so mildly from Dallapicolla resembled Stravinsky than any Webern. One hears this with this symphony.
Part 2 09:54 was written for the film "The Song of Bernadette". What you hear is what he intended for Bernadette's first meeting with her lady. I'm sorry they went with Alfred Newman instead, because this has a more unusual, otherworldly feel to it. If you're going to write music for young women meeting the Virgin Mary on an otherwise completely ordinary after-school errand, you want it to sound like this. Maybe they could use it for a film about Garabandal.
cool info tnx
Maybe they could use it in a commercial for Oreos.
A film score with this much nuance and character would have been the next level for cinema. Still could be.
Good thing I'm not a bassoonist, because I have listened to the double solo in the third movement dozens of times but I cannot get the rhythm absolutely correct, at least not in the second bassoon. Halfway through, the oddly placed accents throw me off.
I am a retired Bassoonist and worked with many of the London orchestras after leaving the BBC Philharmonic in 1973.
I played this work by Stravinsky many times and I can assure you this particular passage is difficult even for professional players.
The problem is the passage is in very close cannon and a sort of stutter occurs between the players. Experiments have been made to discover the cause of stutters in speech and it was found that if you record a person speaking and playback a fraction of second later at the same time as speaking, the individual will begin to stutter. This is what happens here in this passage for the players.
If even one of the players gets slightly out with the rhythm then the passage falls apart.
There is a mistake in counter-bassoon part two measures before RN 177 . There should be added g flat quaver on the second ( from six) beat and semi quaver c flat must be moved to the beat “four-and” ( the 8th semi quaver in this measure ). If this mistake is fixed in Counter-bassoon part the part of the second bassoon seems to be more logical and much easier to perform.
varying harmonic structures.
@@awb222 I'm curious to know whether you discovered this particular error from having actually having performed the contrabassoon part yourself (perhaps from a corrected solo part), or just from analyzing the score on your own. In either case, I agree with you that logically the contrabassoon should continue "shadowing" the piano's left hand part here, as it has mostly been doing since the fourth quaver of reh 175. Note, however, that in order to achieve this, the C-flat should fall directly on the fourth quaver of two-measures-before-reh-177 (rather than on the "and" of beat 4). Also, I suspect the G-flat would logically be a staccato semi-quaver rather than a quaver (just punctuating the piano's sustained notes the same way the C-flat does.)
Thanks for bringing this issue to my attention -- there are certainly a number of other errors in the score, but I never noticed this one before!
👏👏👏🌹🌹🌹
baller
20:10 - 172
21:48 - 188
진짜 넌 놀랍다. 이러다 스트라빈스키 전곡 다 돌 기세
3:23, 8:18, 22:00
2:01 Holst-core?
19:51
Which Part was written for Song of Bernadette?
the central movement, with the harp, apparently.
9:57
12:25
Great piece but not enjoying to play this as a high horn player, give me a break lol.
Diamine, quanto ha copiato Walter Piston da questa sinfonia! E quando ha copiato Stravinsky qui da Bartok! (dal n. 89 un'integrale passaggio arrangiato della musica per celesta, archi e percussione)
Igor Stravinsky sold his soul to Ling Ling xDD
Anyone care to translate the program notes above into English?
Well, I don't see focused intensity as being a singular nuance either.
They are already in English.
Thumb downers - question. Why.
clueless ads
Not surprisingly--since it was written in Hollywood--it sounds like a film score. They should have used it The Guns of Navarrone. Ferde Grofe, eat your heart out!
Way too many notes for my liking.
There are just as many notes, Majesty, as are required. Neither more nor less
@@wanderlngdays Quite right.