Years ago I went to see Dunbarton Oaks and planned to buy a CD of this concerto from their gift shop, which sold a large variety of classical discs. Not only did they not have it but the staff knew nothing about it or that Stavinsky wrote it for the estate. I tried to convince them to order some discs as it might become a popular souvenir for people. One day I would like to return and see if they took my suggestion.
Great piece. Stravinsky was always his own style period. He moved on from Neoclassicism when it was time. Stravinsky had infallible pop sensibilities, writing many an amazing hook, and he wrote some of the best beginnings, middles and ends in the XXth century. Thank you.
That opening orchestration is that beautiful Stravinsky …. There always is something about how Igor orchestrated that you can always tell it’s him. Why not the Flute above the Clarinet? It’s the sonority …. And it’s infectious!
Considered by some to be a minor work, the Concerto in E flat, "Dumbarton Oaks" for chamber orchestra is representative of Stravinsky's "neo-Classic" period, which spanned the middle third of his extraordinarily creative life. The piece was commissioned in 1937 by Mr. And Mrs. Robert Woods Bliss of Dumbarton Oaks, the name of the Bliss' estate in Washington, D.C., in celebration of the couple's 30th wedding anniversary in 1938. At the time of the commission, Stravinsky had been diagnosed with tuberculosis and sent to a Swiss sanatorium to join his wife and two daughters, who were also ill. Poor health was to claim the lives of his eldest daughter, Ludmila, in 1938, and his wife, Katerina, in March 1939. While in Switzerland, Stravinsky immersed himself in the music of Bach while he wrote the Concerto in E flat. Because the composer's illness prevented him from traveling, the premiere performance, given on May 8, 1938, in Washington D.C., was conducted by Nadia Boulanger. As in numerous other of Stravinsky's neo-Classical works, he recapitulates forms and gestures of the Western musical tradition. Thus, the Dumbarton Oaks Concerto self-consciously becomes didactic music-about-music: an essay on the art of writing a concerto in the Baroque style realized in modern harmonic, rhythmic, and melodic idioms. Cast in three movements marked Tempo giusto, Allegretto, and Con moto, the Concerto in E flat deliberately evokes the style of J.S. Bach's Brandenburg Concertos. The resemblance of the beginning of Stravinsky's concerto to the first movement of Bach's Brandenburg No. 3 is particularly striking. Concerning this close relationship, Stravinsky noted, "I do not think that Bach would have begrudged me the loan of these ideas and materials, as borrowing in this way was something he liked to do himself." From the outset of the first movement, string outbursts frame and support the many solo woodwind excursions, and nearly every instrument has a chance to come to the foreground. The Concerto grosso contrasts of concertino and ripieno, and fugato writing permeate the movement, which ends with a slow, homophonic coda. A hesitant, repeated string figure marks the opening of the contrasting Allegretto, an ABA' structure with coda that begins with a much more sparse texture than in the first movement. More dense, the B section is built around a two-note ostinato accompaniment in the strings. A prominent flute part differentiates the return of the A section from the opening of the movement, and creates a busier atmosphere. Woodwinds punctuate a constant, slow staccato pulse in the cellos at the beginning of the third movement. In the central section, the bassoon fills a similar accompanimental role, but in a lighter and less detached manner. The cello returns, and repeated ostinato figures and stretto entrances of a short melody, both Baroque characteristics, propel the finale to its abrupt ending. (AllMusic)
I have an A level mock exam tomorrow and this is one of the main pieces I've chosen for neoclassicism. people like you that ooze out all the musicology and information about Stravinsky and why he composed this piece and how he did is gold dust to me. honestly cannot explain how much this helps me. (obviously I've been revising and getting information from everywhere else but I can honestly say I always remember these comments over the hours of revision on sites and books and texts I read up on aswell lmao.
Sheet music channels like yours George are just the best. Ive listened to this piece probably upwards of 20 times and only just now did i discover the, correct me if im wrong, fugue in the first movement. Thanks for the Stravinsky 👍
"Mr. Stravinsky, we would like to commission you to write a short piece for the celebration of our wedding anniversary. Please do try to keep it civil and well behaved. The audience will be, like us, middle aged and rather conservative, so if you could hide you penchant for wildness, it would be most appreciated. And, since my wife hates the oboe, could you just leave it out of the mix. Many thanks. Bob Bliss."
Hi everyone going through the 20th Century music playlist. 👋 I haven't heard much of Stravinsky neo-classical period apart from Octet for Winds and The Soldiers Tale, which I did find dull to listen to at the time. This piece gives a bit more of a way in to this period.
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This performance is really nice, although we can observe, sometimes, many lacks of clarity. But nevertheless, the chief shows us that he very-well understood the work in its totality and the different correlations between the different recurrent musical motifs. I very well know this neoclassical of Stravinsky work thanks to one of my former conducting teachers at the École Normale de Musique Alfred Cortot in Paris, Dominique Rouits, because it was one of my required pieces for the competition to obtain the 'Diplôme Supérieur' of conducting in its class, in 1995. Nota: Maestro Dominique Rouits was and is still one of the greatest specialists of Stravinsky as a conductor and a teacher of conducting, nowadays. No! This fantastic work is absolutely not any work of Joh. Seb. Bach with many false notes like some detractors of Stravinsky, who know absolutely nothing about Music, dared to say! Anyway, it's really a difficult Concerto Grosso to conduct, for sure! Generally, the less musicians you have to conduct, the most difficult is your job; this is like evidence, of course! No need to tell you such a thing; any conductor knows that. It's always easy to lead important orchestras, because the musicians trigger the autopilot if the conductor is really bad or has no musical ideas, nothing interesting to say.
Das könnte ein Ameisenhaufen darstellen, oder eine Garnfabrik mit riesigen Reihen automatischer Webstühle mit wenigen Arbeitern, die alles überwachen, dann sehe ich auch Wolkenbänder die absurd vorüberziehen im Zeitraffer. Beamten in Stuben die die Stunden zählen. Träumen davon was sie tun werden nach Feierabend.
Fun Fact: Stravinsky composed a 1939 companion piece called Dumb@$$ Pines, scored for piccolo, two bass clarinets, three contrabassoons, four tubas, five wind machines, six bagpipes, seven vibraphones (with motor turned on), and organ. The piece is rarely performed due to the challenge of preventing the audience from burning down the concert hall.
Well, the cue for this meter change at the end of the preceding page correctly announces 4/4 -- so clearly just a typo. (There are plenty of typos in Stravinsky's scores...as I was surprised to discover when compiling an errata list for both the piano-vocal and orchestral scores of The Rake's Progress.) What I'm more curious about is why (in the first measure of reh. 70) the bassoon and horns have an eighth-note followed by a dotted-quarter rest...and then an eighth-note followed by separate quarter- and eighth-note rests. Meanwhile the strings have an eighth-note followed by an eighth-note rest, and by an a quarter-note rest. If this was an intentional distinction on Stravinsky's part, it's hard to imagine what it could possibly mean.
Ehh it kinda depends on what mood you're in lol. You want a nice walk through the meadows, Dumbarton. If you want tribal carnage and sacrifice then Rite.
@@OscarSouth People adore horror movies. Some people love death metal, and the Rite (one of my very favorite pieces of music) is ur-death metal. Dumbarton is fantastic and all those incessant meter changes (like the Rite and nearly all of Stravinsky's work) would hardly peg it as formally conservative, despite the consonance.
![Igor Stravinsky: Danses concertantes [w/score]](http://i.ytimg.com/vi/llsIY44riGI/mqdefault.jpg)
![Igor Stravinsky - Concerto in D ("Basle") for String Orchestra (1946) [Score-Video]](/img/n.gif)
Years ago I went to see Dunbarton Oaks and planned to buy a CD of this concerto from their gift shop, which sold a large variety of classical discs. Not only did they not have it but the staff knew nothing about it or that Stavinsky wrote it for the estate. I tried to convince them to order some discs as it might become a popular souvenir for people. One day I would like to return and see if they took my suggestion.
How could the staff be so stupid?
@@theappraiserladyBecause they are American?
I. Tempo giusto 0:06
II. Allegretto 4:55
III. Con moto 9:28
Great piece. Stravinsky was always his own style period. He moved on from Neoclassicism when it was time. Stravinsky had infallible pop sensibilities, writing many an amazing hook, and he wrote some of the best beginnings, middles and ends in the XXth century. Thank you.
That opening orchestration is that beautiful Stravinsky …. There always is something about how Igor orchestrated that you can always tell it’s him. Why not the Flute above the Clarinet? It’s the sonority …. And it’s infectious!
Considered by some to be a minor work, the Concerto in E flat, "Dumbarton Oaks" for chamber orchestra is representative of Stravinsky's "neo-Classic" period, which spanned the middle third of his extraordinarily creative life. The piece was commissioned in 1937 by Mr. And Mrs. Robert Woods Bliss of Dumbarton Oaks, the name of the Bliss' estate in Washington, D.C., in celebration of the couple's 30th wedding anniversary in 1938. At the time of the commission, Stravinsky had been diagnosed with tuberculosis and sent to a Swiss sanatorium to join his wife and two daughters, who were also ill. Poor health was to claim the lives of his eldest daughter, Ludmila, in 1938, and his wife, Katerina, in March 1939. While in Switzerland, Stravinsky immersed himself in the music of Bach while he wrote the Concerto in E flat. Because the composer's illness prevented him from traveling, the premiere performance, given on May 8, 1938, in Washington D.C., was conducted by Nadia Boulanger. As in numerous other of Stravinsky's neo-Classical works, he recapitulates forms and gestures of the Western musical tradition. Thus, the Dumbarton Oaks Concerto self-consciously becomes didactic music-about-music: an essay on the art of writing a concerto in the Baroque style realized in modern harmonic, rhythmic, and melodic idioms. Cast in three movements marked Tempo giusto, Allegretto, and Con moto, the Concerto in E flat deliberately evokes the style of J.S. Bach's Brandenburg Concertos. The resemblance of the beginning of Stravinsky's concerto to the first movement of Bach's Brandenburg No. 3 is particularly striking. Concerning this close relationship, Stravinsky noted, "I do not think that Bach would have begrudged me the loan of these ideas and materials, as borrowing in this way was something he liked to do himself."
From the outset of the first movement, string outbursts frame and support the many solo woodwind excursions, and nearly every instrument has a chance to come to the foreground. The Concerto grosso contrasts of concertino and ripieno, and fugato writing permeate the movement, which ends with a slow, homophonic coda. A hesitant, repeated string figure marks the opening of the contrasting Allegretto, an ABA' structure with coda that begins with a much more sparse texture than in the first movement. More dense, the B section is built around a two-note ostinato accompaniment in the strings. A prominent flute part differentiates the return of the A section from the opening of the movement, and creates a busier atmosphere. Woodwinds punctuate a constant, slow staccato pulse in the cellos at the beginning of the third movement. In the central section, the bassoon fills a similar accompanimental role, but in a lighter and less detached manner. The cello returns, and repeated ostinato figures and stretto entrances of a short melody, both Baroque characteristics, propel the finale to its abrupt ending.
(AllMusic)
Thank you so much for this info!
Considered by SOME. I've loved it since a teen and still do.
I have an A level mock exam tomorrow and this is one of the main pieces I've chosen for neoclassicism. people like you that ooze out all the musicology and information about Stravinsky and why he composed this piece and how he did is gold dust to me. honestly cannot explain how much this helps me. (obviously I've been revising and getting information from everywhere else but I can honestly say I always remember these comments over the hours of revision on sites and books and texts I read up on aswell lmao.
Fine, but I don’t really think Stravinsky wrote any homophobic music.
Absolutely brilliant piece! Exciting all the way through!
nootie moment
@@takureido3122 indeed
Sheet music channels like yours George are just the best. Ive listened to this piece probably upwards of 20 times and only just now did i discover the, correct me if im wrong, fugue in the first movement. Thanks for the Stravinsky 👍
Incredible music. Incredible performance.
Also incredible sounding recording. Time to work go practice.
"Mr. Stravinsky, we would like to commission you to write a short piece for the celebration of our wedding anniversary. Please do try to keep it civil and well behaved. The audience will be, like us, middle aged and rather conservative, so if you could hide you penchant for wildness, it would be most appreciated. And, since my wife hates the oboe, could you just leave it out of the mix. Many thanks. Bob Bliss."
Discovered this piece when I was eleven. Loved it ever since. Prompted an initial year of playing
bassoon before switching to French horn.
11:39 Stravinsky trolling the conductor
Maybe editor fault 🤣
Ahahaha I didn't notice.
I may be addicted to Dumbarton oaks ngl
Einfach witziges mutiges Stück. Wie der Vorspann eines cleveren Films.
Shit. ONE OF MY ALL TIME FAVORITES
Delightful work!
0:33
4:15
3/8 vs. 3/4
6:53
8:04
Micro-Macro
9:28
12:55
14:30
In the 1990's I woke up with the second mvt of the Dumbarton Oaks before replaceing it by Werbern's Passacaille for the same use.
Sorry I have to go to work
Hi everyone going through the 20th Century music playlist. 👋
I haven't heard much of Stravinsky neo-classical period apart from Octet for Winds and The Soldiers Tale, which I did find dull to listen to at the time. This piece gives a bit more of a way in to this period.
Rehearsing this piece right now, our conductor pointed out the d natural in the flute at the very end. How is that ever supposed to be heard?
It depends of what comes before and after, how it sounds this wonderfull music.
This is played on WGUC 90.9 with The Knights composing this.
Glad to see you're back.
Glad to be back, but missing the subscribers I had before! Please share the channel on your social media here: th-cam.com/channels/Vmxzvy0qErh8ckRJB88qjA.html
This performance is really nice, although we can observe, sometimes, many lacks of clarity. But nevertheless, the chief shows us that he very-well understood the work in its totality and the different correlations between the different recurrent musical motifs.
I very well know this neoclassical of Stravinsky work thanks to one of my former conducting teachers at the École Normale de Musique Alfred Cortot in Paris, Dominique Rouits, because it was one of my required pieces for the competition to obtain the 'Diplôme Supérieur' of conducting in its class, in 1995.
Nota: Maestro Dominique Rouits was and is still one of the greatest specialists of Stravinsky as a conductor and a teacher of conducting, nowadays.
No! This fantastic work is absolutely not any work of Joh. Seb. Bach with many false notes like some detractors of Stravinsky, who know absolutely nothing about Music, dared to say!
Anyway, it's really a difficult Concerto Grosso to conduct, for sure!
Generally, the less musicians you have to conduct, the most difficult is your job; this is like evidence, of course! No need to tell you such a thing; any conductor knows that. It's always easy to lead important orchestras, because the musicians trigger the autopilot if the conductor is really bad or has no musical ideas, nothing interesting to say.
It's a good performance, but I heard Stravinsky conducting it faster
Most people dont realize that HRH Prince Harry Windsor of Sussex and Montecito is the earl of Dumbarton in Scotland
Talk about counterpoint! Nice
I'd be kindof nice to know whose recording this is ..
igor
Das könnte ein Ameisenhaufen darstellen, oder eine Garnfabrik mit riesigen Reihen automatischer Webstühle mit wenigen Arbeitern, die alles überwachen, dann sehe ich auch Wolkenbänder die absurd vorüberziehen im Zeitraffer. Beamten in Stuben die die Stunden zählen. Träumen davon was sie tun werden nach Feierabend.
The Brandenburg of the 1930's.
11:40 nice 5/4 bar
Nobody does mixed meter like Iggy the Stravinator. I'm an avant prog and mathcore fanatic and I approve this concerto ;)
9:28
Fun Fact: Stravinsky composed a 1939 companion piece called Dumb@$$ Pines, scored for piccolo, two bass clarinets, three contrabassoons, four tubas, five wind machines, six bagpipes, seven vibraphones (with motor turned on), and organ.
The piece is rarely performed due to the challenge of preventing the audience from burning down the concert hall.
Excerpt: 13:54
(Time stamp for myself) 8:00
what score is this? would be happy for reference
Why do I associate this with Neville Mariner and his orchestra, at St Martin in the Fields???
Because they recorded it, though, sadly, they did not take the repeats in the last movement, spoiling both its form and impact.
1:14 ❤❤🎉wow so jazzyyyyy 🥵🥵🤤🤤🤤
1:00
3:16
6:47
9:35
14:14
Reheasal / Measure 70 - Meter is 5/4 but the music contains 4/4. Please explain.
Well, the cue for this meter change at the end of the preceding page correctly announces 4/4 -- so clearly just a typo. (There are plenty of typos in Stravinsky's scores...as I was surprised to discover when compiling an errata list for both the piano-vocal and orchestral scores of The Rake's Progress.)
What I'm more curious about is why (in the first measure of reh. 70) the bassoon and horns have an eighth-note followed by a dotted-quarter rest...and then an eighth-note followed by separate quarter- and eighth-note rests. Meanwhile the strings have an eighth-note followed by an eighth-note rest, and by an a quarter-note rest. If this was an intentional distinction on Stravinsky's part, it's hard to imagine what it could possibly mean.
Cha Cha Cha Cha Cha!!!!!
2:25 viola excerpt
who is playing?
Le basson est français
listening to this in secret, hoping to not get haunted by boulez ghost
😮
👋👋👋👋👋👋
bassoon played a c natural two before 8. whoops.
İnan🇹🇷🇺🇸
Compared to Kermit these chronies sound awkward. Needs a little time to teach them discipline.
Wow this is much more enjoyable than Rite of Spring lmao
Ehh it kinda depends on what mood you're in lol. You want a nice walk through the meadows, Dumbarton. If you want tribal carnage and sacrifice then Rite.
@@cobblestonegenerator And who in their rightful mind would choose meadow walking over tribal carnage. Not me.
@@OscarSouth They both were written when he was in full genius as composer. Listened to both many times over.
@@kevinsimpson5178 I agree - I’ve studied both pieces deeply
@@OscarSouth People adore horror movies. Some people love death metal, and the Rite (one of my very favorite pieces of music) is ur-death metal. Dumbarton is fantastic and all those incessant meter changes (like the Rite and nearly all of Stravinsky's work) would hardly peg it as formally conservative, despite the consonance.
9:27
6:20
7:00
8:05