Igor Stravinsky Conductors

Stravinsky addresses the artificiality of conductors through comparisons. In the introduction of the passage, Stravinsky highlights the similarities between conducting and politics. He explains that both conducting and politics “rarely attracts original minds ” and are mostly used for the “exploitation of personalities” Politicians are known for being very dishonest. They often make empty promises in order to gain popularity and votes from the public. Stravinsky believes that conductors, like politicians, exist only to satisfy their audience, not to express their own perspective of the music. At one point, Stravinsky draws a comparison between anglers and musicians. While a conductor might be a “incomplete musician”, Stravinsky believes that a conductor must be a “compleat angler”. Angler is another term to used to describe someone who

This very much represents the physical crossing from the ‘normal’ world into a world which is not seen from the outside, and pushed to the edge of society, and further resembles a glimpse of hope for the patients’ recovery. In the later scenes of the play, during the performance of Mozart’s opera, the entire theatre has been transformed into something completely different, with its white walls, the bright, colourful costumes, and Mozart’s “music of the spheres” echoing within the once dark and dismal place. The new theatre in all its splendour metaphorically resembles the transformations of the characters themselves, and from this, the audience is encouraged to realise the significance and therapeutic nature of art, in this case theatre and music: “the music of this opera will keep the world in harmony”, especially in contrast to hopeless treatments such as shock therapy. Through his play, Nowra also encourages the audience to agree with his personal view that war is unnecessary, and in a way is a kind of madness itself, due to its chaotic and uncontrollable nature.

5. Smart, Mary Ann. Mimomania : music and gesture in nineteenth-century opera. Berkeley : University of California Press, 2004.

To show his aggravation and irritation, Stravinsky uses the rhetorical device of comparison and contrast to convey his opinion of conductors. He compares the "great" conductors to "great" actors in that "[they] are unable to play anything but themselves". Moreover, being unable to adapt, they have to adapt the work to themselves, not themselves to the work, which is obviously offending to a notable composer

Many composers use various techniques in which they communicate the distinctly visual. John Misto’s ‘The Shoe-Horn Sonata’ and Alexander Kimel’s ‘The Action in the Ghetto of Rohatyn, March 1942’ represent significant issues in our world by using various literary and dramatic techniques. Through using these techniques it is evident that the composers of these texts allow the audience to ‘see’ with our eyes as well as with our minds. The many literary and dramatic techniques have the ability to create a visual that

Good Afternoon Ladies and Gentlemen of the Multi-cultural convention, I have been selected to address the statement, “The Language used by composers has the ability to present responders with opportunities to challenge their perception of self and the world”. I will be doing so by closely analysing the language used by Komninos in ‘Hillston Welcome’ and ‘Back to Melbourne’ and John

​In his derogatory passage, Igor Stravinsky discusses the common views and reputation of orchestra conductors; he argues that conductors are not musical gods but rather destroyers of musical compositions and the glory that they are meant to receive. Because Stravinsky is a composer himself, he has firsthand experience with the relationship between composer and conductor and has dealt with conductors that have conducted his compositions. Stravinsky’s purpose in writing this passage is to convince the reader of the false perspective they possess of conductors. He wants to correct these pretenses and expose the façade of conducting in order for the reader to disassociate the conductor with being the star of the performance and help them focus

Composers’ representations of the complex relationship between people and politics are influenced by various moral and social agendas, whereby a portrayal of reality and meaning is inherently subjective.

As one can see, Strozzi worked hard to ensure that she left, “a precise, and as authentic, of (a) legacy of her arts as she could.” She was a woman who, like so many others in her time, was used by men, her own father, and Venice itself. However, despite her social position, Barbara was able to distinguish herself from the other male-composers of her time. Although, her voice remained small, and she disappeared in history with no monument or testament, her dedication to print allows for her legacy to continue to live

Igor Stravinsky is considered by many the greatest composer of the 20th Century. Several composers have made breakthroughs and great accomplishments in the past 100 years, but Stravinsky has dominated nearly every trend set. He was born near St. Petersburg, Russia in Oranienbaum, on June 17, 1882. He was born to a famous Russian bass opera singer, Fyodor Ignatyevich Stravinsky.

The conveyance of distinctive visuals within texts draw profound significance to the various aspects of life poised within their stories. Performed with the aim of elevating the audience’s understanding, this can suggestively nurture the common response amongst them of the significant aspects of life, thus, referencing a deep awareness of the composer’s concerns. This is clearly evident within John Misto’s play ‘The Shoe-Horn Sonata’ in accompaniment to the listening stimulus of John Misto’s Interview and Peter Skrzynecki’s poem ‘Crossing The Red Sea’ through the exploration of delicate notions such as the journey through times of hardship and suffering as well as the hope of survival and sacrifices.

Paul is a good boy. I admire his talent. He reminds me of my own. Perhaps I have been too hard on him because of it. A father’s hardness. Yet he still has much to learn. His ignorance irritates me. His negligence is a flaw that must be adjusted, as I familiarly know the consequences. Locked away in imitations and forgeries of the masters, emotionless melodies in dominants and diminished 7ths, dynamically dull. Forced to leave the capital city by own authority, the land of music, my life. The ballroom of Europe. Illuminated museums and theatrical orchestras formed the essence of the air of Vienna, made it different to everything else. If only I wasn’t so concentrated in my own appeal would I have been aware of the revolution around me. “But all the music. The famous musicians. I was busy.” These words ramble on in my head. Upsurging and diminishing thoughts. If only I had looked up from beyond the white and black. Realised what was really in front of me. Realised what was going on. I could have saved them. The

The music of Stravinsky has always been “ahead of time” in the way of using new and different ways of presenting music. His early ballets such as Firebird, Petrushka, and The Rite of Spring being a great example of his modernism and will to compose music which is both innovative and shocking. For this essay I have chosen to write about The Firebird (1910) and The Rite of Spring (1913). Firebird was Stravinsky’s first Ballet and his first composition that reached many people because of its modernism and exoticism. The Rite of Spring is still renowned for its portrayal of primitivism, a concept that was accentuated by the riot that happened at its premiere.

The general plan of Tchaikovsky’s symphonies includes a very 'pessimistic' first movement, a sad, peaceful second movement, an allegro movement (often in dance form) and a fourth movement full of vigor.  His 6th symphony, the Pathetique, is an exception.  The themes are broad, decorative, and striking. The orchestration is rich - but without any attempt at spectacular effects.  The last movement is slow and mournful, and recent research reveals the reason.  The Pathetique was only partly finished when news spread of a homosexual 'encounter' Tchaikovsky had with a fellow student. Some believe that the composer finished the symphony as a farewell to life. The scoring is for the standard symphonic orchestra with winds, brass, strings, timpani, and other percussion instruments. It was premiered in St. Petersburg with Tchaikovsky himself leading the orchestra.

The 19th Century saw many composers come to light as they made a mark on the art music world. Unknown at the time, they would soon be remembered for their work in decades to come. As music developed so did the various ways to portray the piece that was being played. One type of art music that emerged at the time was ‘programme music’. This was defined as where the “composer intends to guard the listener against a wrong poetical interpretation” . In other words it was a way to correctly convince an audience of the story with a number of movements. Composer Camille Saint – Saens was one of the many who did this exceptionally well. Throughout his lifetime, 1835 – 1921, he was known to be one of “France’s most gifted musicians” . Many of his works are still used today and have helped inspire many in not only the musical world, but outside of it as well.