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'@@ -8,5 +8,5 @@ According to Stravinsky, he composed the Octet fairly rapidly in 1922. After completing the first [[Movement (music)|movement]], he composed the [[Waltz (music)|waltz]] that would become the fourth variation of the middle movement. Only after composing this waltz did the idea come to him that it might be a good [[Subject (music)|subject]] for a variation movement. The seventh variation, a [[fugato]], especially pleased Stravinsky, and the following third movement grew out of this final variation (Stravinsky and Craft 1963, 71). One biographer concludes that Stravinsky began composing the Octet after returning from Germany to [[Biarritz]] late in the autumn of 1922, and completed the score on 20 May 1923 {{harv|White|1979|loc=308–309}}. -However, the sketch materials reveal a more complex chronology. Twelve measures of what would become the waltz variation were composed in 1919, and the fugato variation was the first complete section to be composed, in January 1921. There is an early five-page [[Draft document|draft]] of uncertain date for the beginning of the Allegro section in the first movement, at that time planned for [[piano]] and [[Concert band|wind orchestra]]. The main segments of the first movement were drafted in sketches dated between 12 July and 8 August, and the [[Sheet_music#Types|full score]] of the movement was completed on 16 August 1922. Two days later, Stravinsky began work on the second movement by adding the previously composed fugato, and then the waltz fragment, slightly expanded. The waltz coincidentally contains the same [[Interval (music)|intervals]] as the opening of the fugato, and on August 23, 1922, he created the [[Theme (music)|theme]] and titled the movement "Thème avec variations monométriques". Variation D was begun next, but work was interrupted and Stravinsky finished it only on 18 November, followed by the "ribbons of [[Scale (music)|scales]]" variation A on 1 December, variation B on 6 December, and variation C on 9 December. The Finale was completed in Paris on 20 May 1923 {{harv|Craft|1983–84|loc=458–462}}. The score was revised by the composer in 1952. +However, the sketch materials reveal a more complex chronology. Twelve measures of what would become the waltz variation were composed in 1919, and the fugato variation was the first complete section to be composed, in January 1921. There is an early five-page [[Draft document|draft]] of uncertain date for the beginning of the Allegro section in the first movement, at that time planned for [[piano]] and [[Concert band|wind orchestra]]. The main segments of the first movement were drafted in sketches dated between 12 July and 8 August, and the [[Sheet_music#Types|full score]] of the movement was completed on 16 August 1922. Two days later, Stravinsky began work on the second movement by adding the previously composed fugato, and then the waltz fragment, slightly expanded. The waltz coincidentally contains the same [[Interval (music)|intervals]] as the opening of the fugato, and on August 23, 1922, he created the [[Theme (music)|theme]] and titled the movement "Thème avec variations monométriques". Variation D was begun next, but work was interrupted and Stravinsky finished it only on 18 November, followed by the "ribbons of [[Scale (music)|scales]]" variation A on 1 December, variation B on 6 December, and variation C on 9 December. The Finale was completed in Paris on 20 May 1923 {{harv|Craft|1983–84|loc=458–62}}. The score was revised by the composer in 1952. The published score does not carry a dedication, though Stravinsky said it was dedicated to [[Vera de Bosset]] {{harv|White|1979|loc=85, 308}}. @@ -18,23 +18,22 @@ ==Form== The Octet is in three movements: -{{ordered list|list-style-type=upper-roman -|[[Sinfonia]] (Lento—Allegro moderato) -|Tema con variazioni (Andantino) -|Finale (Sempre {{Music|quarternote}} = 116, Tempo giusto)}} +* [[Sinfonia]] (Lento—Allegro moderato) +* Tema con variazioni (Andantino) +* Finale (Sempre {{Music|quarternote}} = 116, Tempo giusto) The thematic and rhythmic materials of the three movements are interrelated {{harv|Waeltner|1971|loc=274}}, and the second movement connects to the third without a break. ===First movement=== The opening Sinfonia is a comparatively rare example (despite his label of "neoclassic composer") of Stravinsky's use of [[sonata form]] {{harv|Haimo and Johnson|1987|loc=x}}. His employment of this form, along with the other style elements consciously borrowed from the past, is not out of a reverent desire to perpetuate them, but rather constitutes a defiant and satirical act of mockery {{harv|Straus|1987|loc=161}}. The opening Lento section functions like a classical introduction, presenting the background tonal structure that will also govern the main Allegro section ({{harvnb|Haimo|1987|loc=45}}; {{harvnb|Straus|1987|loc=159}}). -:<score vorbis="1"> { \new PianoStaff << \new Staff \relative c'' { \clef treble \key ees \major \time 3/4 \tempo "Lento" 8 = 76 bes2-.\sfp~ bes16 <aes d,>-. <d f,>-. <ees aes,>-. | <aes d,>4-- << { g~ g16 } \\ { c,4\trill( b16) } >> } \new Staff \relative c'' { \clef treble \key ees \major \time 3/4 r4 <aes f>\sfp\trill( <g ees>16) <bes bes,>-. <aes d,>-. <g f>-. | <g ees>4-- <f d>~ <f d>8 } >> } </score> +<score vorbis="1"> { \new PianoStaff << \new Staff \relative c'' { \clef treble \key ees \major \time 3/4 \tempo "Lento" 8 = 76 bes2-.\sfp~ bes16 <aes d,>-. <d f,>-. <ees aes,>-. | <aes d,>4-- << { g~ g16 } \\ { c,4\trill( b16) } >> } \new Staff \relative c'' { \clef treble \key ees \major \time 3/4 r4 <aes f>\sfp\trill( <g ees>16) <bes bes,>-. <aes d,>-. <g f>-. | <g ees>4-- <f d>~ <f d>8 } >> } </score> In the Allegro, Stravinsky exploits the apparent contradiction of two formal balances: one created through the parallel restatement of themes, the other through the symmetrical arrangement of themes and events on different structural layers of the composition {{harv|Kielian-Gilbert|1991|loc=464}}. ===Second movement=== -:<score vorbis="1"> \relative c''' { \clef treble \time 3/4 \tempo "Andantino" 8 = 92 cis4( a cis | bes8 c!32 bes a bes c2) | \numericTimeSignature \time 4/4 a4( bes cis c | \time 3/4 a2.) | cis4( c a | cis2) a4( | bes e g | fis,2.) } </score> -In 1922, when Stravinsky was composing the second, theme-and-variations movement, he confided in a letter to [[Ernest Ansermet]] that [[Wolfgang Amadeus Mozart|Mozart]] was for him what [[Jean Auguste Dominique Ingres|Ingres]] was to [[Pablo Picasso|Picasso]]. The hybrid of rondo and variation form resembles the slow movement of Mozart's [[Piano Concerto No. 22 (Mozart)|E{{Music|flat}} major Piano Concerto]], K. 482, to which it has been compared {{harv|Kielian-Gilbert|1991|loc=471–472}}. Variations 1, 3, and 6 are practically identical (all are labeled "variation A" in the score), and serve as introductions to the following variations 2, 4, and 7 {{harv|Nelson|1962|loc=329}}. Stravinsky referred to this recurring introduction as the "ribbons of scales" variation {{harv|Stravinsky and Craft|1963|loc=71}}. The second, fourth, fifth, and seventh variations assume the characters of a [[March (music)|march]], a [[Waltz (music)|waltz]], a [[Can-can|cancan]], and a solemn fugue, respectively {{harv|Simms|1986|loc=279}}. The fugato is almost uniformly written in [[Quintuple meter|{{music|time|5|8}} time]] {{harv|White|1979|loc=311}}. This seventh, final variation is particularly surprising. The theme here is scarcely recognizable, and does not seem promising as the [[Subject (music)|subject]] for a fugue; the sound character of the variation, with its emphasis on slow-moving harmonic masses, is unearthly, and its plan is unconventional, with the subject occurring only four times {{harv|Nelson|1962|loc=337}}. +<score vorbis="1"> \relative c''' { \clef treble \time 3/4 \tempo "Andantino" 8 = 92 cis4( a cis | bes8 c!32 bes a bes c2) | \numericTimeSignature \time 4/4 a4( bes cis c | \time 3/4 a2.) | cis4( c a | cis2) a4( | bes e g | fis,2.) } </score> +In 1922, when Stravinsky was composing the second, theme-and-variations movement, he confided in a letter to [[Ernest Ansermet]] that [[Wolfgang Amadeus Mozart|Mozart]] was for him what [[Jean Auguste Dominique Ingres|Ingres]] was to [[Pablo Picasso|Picasso]]. The hybrid of rondo and variation form resembles the slow movement of Mozart's [[Piano Concerto No. 22 (Mozart)|E{{Music|flat}} major Piano Concerto]], K. 482, to which it has been compared {{harv|Kielian-Gilbert|1991|loc=471–72}}. Variations 1, 3, and 6 are practically identical (all are labeled "variation A" in the score), and serve as introductions to the following variations 2, 4, and 7 {{harv|Nelson|1962|loc=329}}. Stravinsky referred to this recurring introduction as the "ribbons of scales" variation {{harv|Stravinsky and Craft|1963|loc=71}}. The second, fourth, fifth, and seventh variations assume the characters of a [[March (music)|march]], a [[Waltz (music)|waltz]], a [[Can-can|cancan]], and a solemn fugue, respectively {{harv|Simms|1986|loc=279}}. The fugato is almost uniformly written in [[Quintuple meter|5/8 time]] {{harv|White|1979|loc=311}}. This seventh, final variation is particularly surprising. The theme here is scarcely recognizable, and does not seem promising as the [[Subject (music)|subject]] for a fugue; the sound character of the variation, with its emphasis on slow-moving harmonic masses, is unearthly, and its plan is unconventional, with the subject occurring only four times {{harv|Nelson|1962|loc=337}}. ===Third movement=== :<score vorbis="1"> \relative c'' { \clef bass \time 2/4 \tempo "Sempre" 4 = 116 g4. e8 | g c, e fis,~ | fis4. } </score> -The finale's material is based on a rhythm identified by Stravinsky in earlier works (such as ''[[The Firebird]]'' and ''[[The Rite of Spring]]'') with the Russian circle-dance called a ''[[khorovod]]''. This repeating, three-note syncopated rhythm with proportions 3:3:2 (&nbsp;[[File:Dotted quarter note with upwards stem.svg|10px]]&nbsp;&nbsp;[[File:Dotted quarter note with upwards stem.svg|10px]]&nbsp;&nbsp;[[File:Quarter note with upwards stem.svg|10px]]&nbsp;) is especially evident in the accompanying chords at the end, but all the preceding material in the movement is built on it or contains it. The overall formal design may be represented as A-B-A′-C-A″-D-D′, where the refrain material in the A sections occurs one time fewer in each successive repetition: three times, then two times, and finally just once. In this process, the ''khorovod''-like element becomes progressively less evident in the refrain, whereas in the intervening couplets it increases in clarity, from a disguised augmentation in the solo trumpet in section B, to a flute solo built on the original rhythmic shape in C, to the chordal accompaniment in D. The conception of a round dance is transformed here into an instrumental [[rondo]], with a main theme resembling a baroque fugue subject {{harv|Waeltner|1971|loc=267–269, 272–273}}. +The finale's material is based on a rhythm identified by Stravinsky in earlier works (such as ''[[The Firebird]]'' and ''[[The Rite of Spring]]'') with the Russian circle-dance called a ''[[khorovod]]''. This repeating, three-note syncopated rhythm with proportions 3:3:2 (&nbsp;[[File:Dotted quarter note with upwards stem.svg|10px]]&nbsp;&nbsp;[[File:Dotted quarter note with upwards stem.svg|10px]]&nbsp;&nbsp;[[File:Quarter note with upwards stem.svg|10px]]&nbsp;) is especially evident in the accompanying chords at the end, but all the preceding material in the movement is built on it or contains it. The overall formal design may be represented as A-B-A'-C-A<nowiki>''</nowiki>-D-D', where the refrain material in the A sections occurs one time fewer in each successive repetition: three times, then two times, and finally just once. In this process, the ''khorovod''-like element becomes progressively less evident in the refrain, whereas in the intervening couplets it increases in clarity, from a disguised augmentation in the solo trumpet in section B, to a flute solo built on the original rhythmic shape in C, to the chordal accompaniment in D. The conception of a round dance is transformed here into an instrumental [[rondo]], with a main theme resembling a baroque fugue subject {{harv|Waeltner|1971|loc=267–69, 272–73}}. ==Reception== @@ -45,15 +44,15 @@ ==References== * {{wikicite|ref={{harvid|Anon.|1924}}|reference=Anon. 1924. "The Salzburg Festival: Stravinsky's Octet; The Work of English Composers". ''The Times'' (18 August): 8.}} -* {{wikicite|ref={{harvid|Cook|2003}}|reference=[[Nicholas Cook|Cook, Nicholas]]. 2003. "Stravinsky Conducts Stravinsky". In ''[[Cambridge Companions to Music|The Cambridge Companion to Stravinsky]]'', edited by Jonathan Cross, 176–191. Cambridge Companions to Music. Cambridge and New York: Cambridge University Press. {{ISBN|978-0-521-66377-9}}.}} +* {{wikicite|ref={{harvid|Cook|2003}}|reference=[[Nicholas Cook|Cook, Nicholas]]. 2003. "Stravinsky Conducts Stravinsky". In ''[[Cambridge Companions to Music|The Cambridge Companion to Stravinsky]]'', edited by Jonathan Cross, 176–91. Cambridge Companions to Music. Cambridge and New York: Cambridge University Press. {{ISBN|978-0-521-66377-9}}.}} * {{wikicite|ref={{harvid|Copland|1968}}|reference=[[Aaron Copland|Copland, Aaron]]. 1968. ''The New Music 1900–1960'', revised and enlarged edition. New York: W. W. Norton & Company, Inc.}} -* {{wikicite|ref={{harvid|Craft|1983–84}}|reference=[[Robert Craft|Craft, Robert]]. 1983–84. "A. On the ''Symphonies of Wind Instruments''. B. Toward Corrected Editions of the Sonata, Serenade, and Concerto for Two Pianos. C. The Chronology of the Octet". ''Perspectives of New Music'' 22, nos. 1 & 2 (Fall-Winter/Spring-Summer): 448–463.}} +* {{wikicite|ref={{harvid|Craft|1983–84}}|reference=[[Robert Craft|Craft, Robert]]. 1983–84. "A. On the ''Symphonies of Wind Instruments''. B. Toward Corrected Editions of the Sonata, Serenade, and Concerto for Two Pianos. C. The Chronology of the Octet". ''Perspectives of New Music'' 22, nos. 1 & 2 (Fall-Winter/Spring-Summer): 448–63.}} * {{wikicite|ref={{harvid|Haimo|1987}}|reference=Haimo, Ethan. 1987. "Problems of Hierarchy in Stravinsky's Octet". In ''Stravinsky Retrospectives'', edited by Ethan Haimo and Paul Johnson, 36–54. Lincoln: University of Nebraska Press.}} * {{wikicite|ref={{harvid|Haimo and Johnson|1987}}|reference=Haimo, Ethan, and Paul Johnson. 1987. "Editors' Preface". In ''Stravinsky Retrospectives'', edited by Ethan Haimo and Paul Johnson, vii–xi. Lincoln: University of Nebraska Press.}} -* {{wikicite|ref={{harvid|Kielian-Gilbert|1991}}|reference=Kielian-Gilbert, Marianne. 1991. "Stravinsky's Contrasts: Contradiction and Discontinuity in His Neoclassic Music". ''The Journal of Musicology'' 9, no. 4 (Autumn): 448–480.}} -* {{wikicite|ref={{harvid|Nelson|1962}}|reference=Nelson, Robert U. 1962. "Stravinsky's Concept of Variations". ''The Musical Quarterly'' 48, no. 3, Special Issue for Igor Stravinsky on His 80th Anniversary (July), pp. 327–339.}} +* {{wikicite|ref={{harvid|Kielian-Gilbert|1991}}|reference=Kielian-Gilbert, Marianne. 1991. "Stravinsky's Contrasts: Contradiction and Discontinuity in His Neoclassic Music". ''The Journal of Musicology'' 9, no. 4 (Autumn): 448–80.}} +* {{wikicite|ref={{harvid|Nelson|1962}}|reference=Nelson, Robert U. 1962. "Stravinsky's Concept of Variations". ''The Musical Quarterly'' 48, no. 3, Special Issue for Igor Stravinsky on His 80th Anniversary (July), pp. 327–39.}} * {{wikicite|ref={{harvid|Simms|1986}}|reference=Simms, Bryan R. 1986. ''Music of the Twentieth Century: Style and Structure''. New York: Schirmer Books; London: Collier Macmillan Publishers. {{ISBN|0-02-872580-8}}.}} -* {{wikicite|ref={{harvid|Straus|1987}}|reference=Straus, Joseph N. 1987. "Sonata Form in Stravinsky". In ''Stravinsky Retrospectives'', edited by Ethan Haimo and Paul Johnson, 141–161. Lincoln: University of Nebraska Press.}} +* {{wikicite|ref={{harvid|Straus|1987}}|reference=Straus, Joseph N. 1987. "Sonata Form in Stravinsky". In ''Stravinsky Retrospectives'', edited by Ethan Haimo and Paul Johnson, 141–61. Lincoln: University of Nebraska Press.}} * {{wikicite|ref={{harvid|Stravinsky and Craft|1963}}|reference=Stravinsky, Igor, and Robert Craft. 1963. ''Dialogues and a Diary''. New York: Doubleday.}} -* {{wikicite|ref={{harvid|Waeltner|1971}}|reference=Waeltner, Ernst Ludwig. 1971. "Aspekte zum Neoklassizismus Strawinskys: Schlußrhythmus, Thema und Grundriß im Finale des Bläser-Oktetts 1923". In ''Bericht über den Internationalen Musikwissenschaftlichen Kongress Bonn 1970'', edited by [[Carl Dahlhaus]], Hans Joachim Marx, Magda Marx-Weber, and Günther Massenkeil, with ''Bericht über das Symposium "Reflexionen über Musikwissenschaft heute"'', edited by Hans Heinrich Eggebrecht, 265–274. Kassel, Basel, Tours, London: Bärenreiter-Verlag. {{ISBN|3-7618-0146-7}}.}} +* {{wikicite|ref={{harvid|Waeltner|1971}}|reference=Waeltner, Ernst Ludwig. 1971. "Aspekte zum Neoklassizismus Strawinskys: Schlußrhythmus, Thema und Grundriß im Finale des Bläser-Oktetts 1923". In ''Bericht über den Internationalen Musikwissenschaftlichen Kongress Bonn 1970'', edited by [[Carl Dahlhaus]], Hans Joachim Marx, Magda Marx-Weber, and Günther Massenkeil, with ''Bericht über das Symposium "Reflexionen über Musikwissenschaft heute"'', edited by Hans Heinrich Eggebrecht, 265–74. Kassel, Basel, Tours, London: Bärenreiter-Verlag. {{ISBN|3-7618-0146-7}}.}} * {{wikicite|ref={{harvid|Walsh|2001}}|reference=Walsh, Stephen. 2001. "Stravinsky, Igor (Fyodorovich)". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (professor of music)|John Tyrrell]]. London: Macmillan Publishers.}} * {{wikicite|ref={{harvid|White|1979}}|reference=White, Eric Walter. 1979. ''Stravinsky: The Composer and His Works'', second edition. Berkeley and Los Angeles: The University of California Press. {{ISBN|0-520-03985-8}}.}} @@ -62,9 +61,9 @@ * {{wikicite|ref={{harvid|Aguilar|2006}}|reference=Aguilar, Victor Reyes. 2006. "Igor Stravinsky's "Octet for Wind Instruments" (1923): An Analysis and Discussion of Conducting Performance Practices". DMA diss. Los Angeles: UCLA.}} * {{wikicite|ref={{harvid|Cross|2003}}|reference=Cross, Jonathan (ed.). 2003. ''The Cambridge Companion to Stravinsky''. Cambridge Companions to Music. Cambridge and New York: Cambridge University Press. {{ISBN|978-0-521-66377-9}}.}} -* {{wikicite|ref={{harvid|Hyde|1996}}|reference=Hyde, Martha Maclean. 1996. "Neoclassic and Anachronistic Impulses in Twentieth-Century Music". ''Music Theory Spectrum'' 18, no. 2 (Fall): 200–235.}} +* {{wikicite|ref={{harvid|Hyde|1996}}|reference=Hyde, Martha Maclean. 1996. "Neoclassic and Anachronistic Impulses in Twentieth-Century Music". ''Music Theory Spectrum'' 18, no. 2 (Fall): 200–35.}} * {{wikicite|ref={{harvid|Hyde|2003}}|reference=Hyde, Martha M. 2003. "Stravinsky's Neoclassicism". In ''The Cambridge Companion to Stravinsky'', edited by Jonathan Cross, 98–136. Cambridge Companions to Music. Cambridge and New York: Cambridge University Press. {{ISBN|978-0-521-66377-9}}.}} * {{wikicite|ref={{harvid|Kielian-Gilbert|1981}}|reference=Kielian-Gilbert, Marianne Catherine. 1981. "Pitch-class Function, Centricity, and Symmetry as Transposition Relations in Two Works of Stravinsky". PhD diss. Ann Arbor: University of Michigan.}} * {{wikicite|ref={{harvid|Lubaroff|2004}}|reference=Lubaroff, Scott. 2004. ''An Examination of the Neo-classical Wind Works of Igor Stravinsky: The Octet for Winds and Concerto for Piano and Winds''. Studies in the History and Interpretation of Music 102. Lewiston, N.Y.: E. Mellen Press. {{ISBN|978-0-7734-6472-8}}.}} -* {{wikicite|ref={{harvid|Stravinsky|1924}}|reference=Stravinsky, Igor. 1924. "Some Ideas about My Octuor", translated from the French. ''The Arts'' 6, no. 1 (January): 4–6. Reprinted in Eric Walter White, ''Stravinsky: The Composer and His Works'', second edition, 574–577. Berkeley and Los Angeles: University of California Press, 1979. {{ISBN|0-520-03985-8}} (pbk).}} +* {{wikicite|ref={{harvid|Stravinsky|1924}}|reference=Stravinsky, Igor. 1924. "Some Ideas about My Octuor", translated from the French. ''The Arts'' 6, no. 1 (January): 4–6. Reprinted in Eric Walter White, ''Stravinsky: The Composer and His Works'', second edition, 574–77. Berkeley and Los Angeles: University of California Press, 1979. {{ISBN|0-520-03985-8}} (pbk).}} * {{wikicite|ref={{harvid|Van den Toorn|1983}}|reference=Van den Toorn, Pieter C. 1983. ''The Music of Igor Stravinsky''. New Haven and London: Yale University Press. {{ISBN|0-300-02693-5}}.}} * {{wikicite|ref={{harvid|Wood|2007}}|reference=Wood, James R. 2007. "A Historical and Analytical Examination of the Stravinsky ''Octet for Wind Instruments'', with a Guide to Performance Preparation of the Two Trumpet Parts". DMA diss. Denton: University of North Texas.}} '