Natasha's Dance (121 page)
Benois called the ballet a ‘fairy tale for grown-ups’. Patched together from various folk
Benois called the ballet a ‘fairy tale for grown-ups’. Patched together from various folk
Benois called the ballet a ‘fairy tale for grown-ups’. Patched together from various folk
134
was littered with borrowings from folk music, especially the peasant wedding songs (devi
was littered with borrowings from folk music, especially the peasant wedding songs (devi
was littered with borrowings from folk music, especially the peasant wedding songs (devi
(devichniki
khorovody)
Ronde des princesses
lubok
135
In the ballet the Tsarevich is lured into the garden of the monster Kashchey by the beauty
In the ballet the Tsarevich is lured into the garden of the monster Kashchey by the beauty
In the ballet the Tsarevich is lured into the garden of the monster Kashchey by the beauty
Mir iskusstva
‘kikimora’, ‘boliboshki’
Suite de Kashchei
fin-de-siecle
But the real innovation of The Firebird was Stravinsky’s use of folk music. Previous com
But the real innovation of The Firebird was Stravinsky’s use of folk music. Previous com
But the real innovation of The Firebird was Stravinsky’s use of folk music. Previous com
The Firebird
17. Gusli player. The gusli was an ancient type of Russian zither, usually five-stringed
17. Gusli player. The gusli was an ancient type of Russian zither, usually five-stringed
17. Gusli player. The gusli was an ancient type of Russian zither, usually five-stringed
player. The
was an ancient type of Russian zither, usually five-stringed, and widely used in folk mus
art form. Stravinsky was the first composer to assimilate folk music as an element of style
art form. Stravinsky was the first composer to assimilate folk music as an element of style
art form. Stravinsky was the first composer to assimilate folk music as an element of style
The Firebird was the great breakthrough. But it was only made possible by the pioneering
The Firebird was the great breakthrough. But it was only made possible by the pioneering
The Firebird was the great breakthrough. But it was only made possible by the pioneering
The Firebird
Peasant Songs of Great Russia as They Are in the Folk’s Harmonization,
136
The Firebird, Petrushka
The Rite of Spring.
kuchkist
Peasant Songs
[A peasant woman called Mitrevna] started singing my favourite song, ‘Little Torch’, whic
[A peasant woman called Mitrevna] started singing my favourite song, ‘Little Torch’, whic
[A peasant woman called Mitrevna] started singing my favourite song, ‘Little Torch’, whic
137
* Because he had found, in Russian peasant music, his own alternative to the German symp
* Because he had found, in Russian peasant music, his own alternative to the German symp
* Because he had found, in Russian peasant music, his own alternative to the German symp
It was precisely this ‘classical’ quality that became so central, not just to the music of
It was precisely this ‘classical’ quality that became so central, not just to the music of
It was precisely this ‘classical’ quality that became so central, not just to the music of
138
In Petrushka (1911) Stravinsky used the sounds of Russian life to overturn the entire mu
In Petrushka (1911) Stravinsky used the sounds of Russian life to overturn the entire mu
In Petrushka (1911) Stravinsky used the sounds of Russian life to overturn the entire mu
Petrushka
139
lubok
But of all Stravinsky’s Russian ballets, by far the most subversive was The Rite of Spring (
But of all Stravinsky’s Russian ballets, by far the most subversive was The Rite of Spring (
But of all Stravinsky’s Russian ballets, by far the most subversive was The Rite of Spring (
The Rite of Spring
The Rite of Spring
be
sacrifice; and the chosen maiden’s sacrificial dance, culminating in her death at the cli
sacrifice; and the chosen maiden’s sacrificial dance, culminating in her death at the cli
sacrifice; and the chosen maiden’s sacrificial dance, culminating in her death at the cli
The evidence of human sacrifice in prehistoric Russia is by no means clear. Ethnograp
The evidence of human sacrifice in prehistoric Russia is by no means clear. Ethnograp
The evidence of human sacrifice in prehistoric Russia is by no means clear. Ethnograp
140
khorovod,
The Rite of Spring.
magnum opus, The Slavs’ Poetic View of Nature (1866-
Golden Bough,
St John’s Night on Bald Mountain.
141
The Rite of Spring.
Artistically, the ballet strived for ethnographic authenticity. Roerich’s costumes were
Artistically, the ballet strived for ethnographic authenticity. Roerich’s costumes were
Artistically, the ballet strived for ethnographic authenticity. Roerich’s costumes were
18. Nikolai Roerich: costumes for the Adolescents in the first production of The Rite of
18. Nikolai Roerich: costumes for the Adolescents in the first production of The Rite of
18. Nikolai Roerich: costumes for the Adolescents in the first production of The Rite of
Nikolai Roerich: costumes for the Adolescents in the first production of The
Paris, 1913
ogy. Then there was Nijinsky’s shocking choreography - the real scandal of the ballet’s in
ogy. Then there was Nijinsky’s shocking choreography - the real scandal of the ballet’s in
ogy. Then there was Nijinsky’s shocking choreography - the real scandal of the ballet’s in
142
(Stravinsky said that he did not really know how to notate or bar them) - a convulsive poun
(Stravinsky said that he did not really know how to notate or bar them) - a convulsive poun
(Stravinsky said that he did not really know how to notate or bar them) - a convulsive poun
7
7
7
7
7
The Revolution found Stravinsky in Clarens, Switzerland, where he had been stranded beh
The Revolution found Stravinsky in Clarens, Switzerland, where he had been stranded beh
The Revolution found Stravinsky in Clarens, Switzerland, where he had been stranded beh
143
144
Preludes
145
Speak, Memory.)
19. Stravinsky transcribes a folk song sung by a peasant gusli player on the
19. Stravinsky transcribes a folk song sung by a peasant gusli player on the
19. Stravinsky transcribes a folk song sung by a peasant gusli player on the
Stravinsky transcribes a folk song sung by a peasant
player on the
porch of the Stravinsky house at Ustilug, 1909. Stravinsky’s mother, Anna,
porch of the Stravinsky house at Ustilug, 1909. Stravinsky’s mother, Anna,
porch of the Stravinsky house at Ustilug, 1909. Stravinsky’s mother, Anna,
porch of the Stravinsky house at Ustilug, 1909. Stravinsky’s mother, Anna,
holds Theodore, his son
holds Theodore, his son
holds Theodore, his son
holds Theodore, his son
Stravinsky did the same through his music. Cut off from Russia, he felt an intense longing fo
Stravinsky did the same through his music. Cut off from Russia, he felt an intense longing fo
Stravinsky did the same through his music. Cut off from Russia, he felt an intense longing fo
Four Russian Songs
146
Stravinsky laboured even longer on The Peasant Wedding (Svad-ebka), a work begun before the
Stravinsky laboured even longer on The Peasant Wedding (Svad-ebka), a work begun before the
Stravinsky laboured even longer on The Peasant Wedding (Svad-ebka), a work begun before the
The Peasant Wedding (Svad-ebka),
Let Noces)
longer than on any other score. The ballet had its origins in his final trip to Ustilug. Stra
longer than on any other score. The ballet had its origins in his final trip to Ustilug. Stra
longer than on any other score. The ballet had its origins in his final trip to Ustilug. Stra
The Rite of Spring.
147
The Rite of Spring;
Pribautki)
This was the idea behind The Peasant Wedding - an attempt, in his own words, to re-create in ar
This was the idea behind The Peasant Wedding - an attempt, in his own words, to re-create in ar
This was the idea behind The Peasant Wedding - an attempt, in his own words, to re-create in ar
The Peasant Wedding
the holy Russia of the Orthodox, a Russia stripped of its parasitic vegetation; its bur
the holy Russia of the Orthodox, a Russia stripped of its parasitic vegetation; its bur
the holy Russia of the Orthodox, a Russia stripped of its parasitic vegetation; its bur
fashion with the aristocracy; its scientism (alas!), its ‘intellectuals’ and their inane an
fashion with the aristocracy; its scientism (alas!), its ‘intellectuals’ and their inane an
fashion with the aristocracy; its scientism (alas!), its ‘intellectuals’ and their inane an
The Peasant Wedding,
The Rite of Spring.
148
Stravinsky had hit upon a form of music that expressed the vital energy and spirit of the peop
Stravinsky had hit upon a form of music that expressed the vital energy and spirit of the peop
Stravinsky had hit upon a form of music that expressed the vital energy and spirit of the peop
The Peasant Wedding
149
The Peasant Wedding was a work of musical ethnography. In later years Stravinsky tried to
The Peasant Wedding was a work of musical ethnography. In later years Stravinsky tried to
The Peasant Wedding was a work of musical ethnography. In later years Stravinsky tried to
The Peasant Wedding
Life and art were intimately linked. The Russian peasant wedding was itself performed as
Life and art were intimately linked. The Russian peasant wedding was itself performed as
Life and art were intimately linked. The Russian peasant wedding was itself performed as
khorovod.
(for, as the peasants said, all marriages were ‘forged’). Then came the prenuptial ritua
(for, as the peasants said, all marriages were ‘forged’). Then came the prenuptial ritua
(for, as the peasants said, all marriages were ‘forged’). Then came the prenuptial ritua
devicbnik
It was a commonplace in the Eurasian circles in which Stravinsky moved in Paris that the gr
It was a commonplace in the Eurasian circles in which Stravinsky moved in Paris that the gr
It was a commonplace in the Eurasian circles in which Stravinsky moved in Paris that the gr
The Rite of Spring.
The Peasant Wedding
corps de ballet
one, like some vast machine made of human beings, and carrying the whole of the storyline
one, like some vast machine made of human beings, and carrying the whole of the storyline
one, like some vast machine made of human beings, and carrying the whole of the storyline
150
5
5
5
5
5
overleaf:
overleaf:
overleaf:
Natalia Goncharova: backdrop design
Natalia Goncharova: backdrop design
Natalia Goncharova: backdrop design
Natalia Goncharova: backdrop design
for The Firebird (1926)
for The Firebird (1926)
for The Firebird (1926)
for The
(1926)
1
1
1
1
The monastery of Optina Pustyn nestles peacefully between the pine forests and the mead
The monastery of Optina Pustyn nestles peacefully between the pine forests and the mead
The monastery of Optina Pustyn nestles peacefully between the pine forests and the mead
The monastery was founded in the fourteenth century. But it did not become well known unt
The monastery was founded in the fourteenth century. But it did not become well known unt
The monastery was founded in the fourteenth century. But it did not become well known unt
state, so the Church was dependent on the state’s finances to support the parish clergy and t
state, so the Church was dependent on the state’s finances to support the parish clergy and t
state, so the Church was dependent on the state’s finances to support the parish clergy and t
Within the Church, meanwhile, there was a growing movement of revivalists who looked to t
Within the Church, meanwhile, there was a growing movement of revivalists who looked to t
Within the Church, meanwhile, there was a growing movement of revivalists who looked to t
Hesychasm has its roots in the Orthodox conception of divine grace. In contrast to the Wes
Hesychasm has its roots in the Orthodox conception of divine grace. In contrast to the Wes
Hesychasm has its roots in the Orthodox conception of divine grace. In contrast to the Wes
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