Stravinsky - the Firebird Suite: an Analysis Essay

The history of ballet dates back to the 18th century starting with Baroque dance. Fabritio Caroso da Sermoneta was a famous Italian Renaissance dancing master. He was born around 1526-1535 and died around 1605-1620. His dance manual "Ballarino" was published in 1581, with a subsequent edition, significantly different, Nobiltà de dame, printed in 1600 and again after his death in 1630. In the 19th century there was the pre-romantic, romantic and the classical ballets. Anthony Tudor deserves an honorable mention for his choreography and teaching. Pre-romantic ballet occurred sometime circa ?? up to 1831. The romantic period covered the early to mid 1800's. This era also introduced the calf-length dress. A few of the great Romantic dancers were Marie Taglioni, Fanny Elssler and Carlotta Grisi. The tequnique became more developed, but the role

When one thinks of a ballet they hear soft rhythmic notes and see elegantly dancing ballerinas softly tip-toeing around the stage. This is also what people in early 1900’s expected to see when they planned to attend a ballet. However, a couple of motivated artists in 1913 literally planned to change the design of ballet, music and dance forever. On May 29, 1913 a ballet named The Rite of Spring premiered in Paris, France. The original title as it translates from Russian to French is; Le Sacre du Printemps, meaning the rite of spring, but the literal translation from Russian to English means “Sacred Spring”. The ballet and music were composed by Igor Stravinsky, with the help of Nicholas Roerich, who proposed the general idea behind the

In the passage by Igor Stravinsky, he uses not only comparison and contrast, but also language to convey his point of view about the conductors of the time and their extreme egotism. Stravinsky believes that conductors exploit the music for their own personal gain, so rather, he looks on them in a negative light.

Peter Ilyich Tchaikovsky is the author of six symphonies and the finest and most popular operas in the Russian repertory. Tchaikovsky was also one of the founders of the school of Russian music. He was a brilliant composer with a creative imagination that helped his career throughout many years. He was completely attached to his art. His life and art were inseparably woven together. "I literally cannot live without working," Tchaikovsky once wrote, "for as soon as one piece of work is finished and one would wish to relax, I desire to tackle some new work without delay." The purpose of this paper is to give you a background concerning Tchaikovsky's biography, as well as to discuss his various works of

‘Swan Lake' was re-choreographed by Marius Petipa and Lev Ivanov in1895, after initially being choreographed by Julius Reisinger in 1877. The musical score was composed by Pytor Tchaikovsky. ‘Swan Lake' was created towards the end of the romantic period, so the culture and style of romanticism was prominent, with glimpses of the beginning of the classical era. Because of this, it contains elements of both eras. Some of the romantic characteristics include the pursuit of the unattainable, romance, fantasy, focus on the female role, gas lighting and simple sets, pointe work, soft and feminine technique for females and the bell tutu. Some of the classical features include the length of the ballet, the classical tutu and more

Ensemble Vagabond’s debut performance of The Rite of Spring changed the history of Igor Stravinsky’s outrageous ballet. Arranged for Winds and Piano, Peter Facer has taken this momentous piece to an entirely new level. With the Callaway Music Auditorium at maximum capacity, Vagabond strode confidently onstage to roaring applause to give the performance of a lifetime.

The novel The Awakening by Kate Chopin contains content that is highly debatable and easily controversial. In the essay Chopin’s The Awakening by Roger Platizky, the author interpreted from the novel that the depression of Edna Pontellier, the main feminine lead, is created not only from the male oppression of the time period, but is also derived from the idea that Edna is affected by a previous encounter with sexual violence, either as a witness or a victim. While there is some way to infer that this is true, it is not confirmed and is quite a reach, considering her life now and willingness with men. The reason that some readers believe this is due to her “mood changes, boundary problems and suicide” (Platizky, Roger). If Edna was a victim or witness to sexual violence, she would be even more submissive and fragile as a character. This theory is untrue, however, because throughout the novel Edna Pontellier displays a growing strength that is presented to the men in her life and finally gains her the independence she has been desiring, even if it isn’t in the most predictable way.

Listening to Music class has taught me a new way to listen and enjoy music. I have learned how to differentiate the melodies, rhythms, and instruments in a song. It has also introduced me to different genres in the music world, aside from what is usually played on the radio. I can now attend any concert, listen to any genre, or watch any ballet and easily recognize the many specific aspects the music being played has. Ballets are very interesting to me. The audience is able to enjoy the music being played as it is telling a story, and being acted out through the performer’s body language. In the two ballets, The Rite of Spring and The Nutcracker, a great story is told in both referencing the many great dynamics music has. These two specific ballets are written by different composers, and each one of them have certain conditions they were written under. As well as different receptions, popularity, and development. The Rite of Spring and The Nutcracker’s differences has made some sort of an impact in the performing world back then as well as now.

The title of the book, The Rites of Spring, and the plunge into the world of the Ballet Russe in the first chapter, made clear that Eksteins intended to use Stravinsky's ballet as an image for

He aspired to create “something entirely new” and he succeeded. Although he was initially forced to compose for Adolph Bolm, who not only choreographed but also danced the role of Apollo, he was really writing for Serge Lifar, who was to dance Apollo at the Paris premiere. Stravinsky made a special effort to compose “simple music for Lifar to do flourishes.” With only a four-dancer allowance and just a string orchestra, Stravinsky was able to write the pure, simple score he craved and apply it magnificently to the Greek theme. His music was not immediately appreciated by those who heard it though. Hans Kindler, conductor of the National Symphony Orchestra, was so put off by Stravinsky’s dissonances that he “replaced them with blander harmonies” when he conducted the premiere at the Library of Congress. Stravinsky received a multitude of negative reviews from Prokofiev who called Apollo “uninteresting” and “creatively feeble” as well as ballet composer Boris Asaf’yev who claimed Stravinsky was attempting to “make new cloth out of old thread.” There was additional criticism by those who attended the Apollo premiere, hoping to be shocked as they were by the virgin sacrificing in Rite of Spring and leaving disappointed at such a peaceful plot. As with all new genres in the history of music, people are resistant to change and it inevitably takes time for a novel idea to be met with acceptance and

He remained a clerk for three years. He hated his job but he worked feverishly at it for he worked hard at every task he was given. He continued to be drawn into the music world and he took piano and theory lessons. Finally, in 1862, he quit his job and devoted the rest of his life to music which he began by entering the St. Petersburg Conservatory. He graduated with a silver medal in 1865. After graduation he was unsure of what to do until 1866 when Nicholas Rubenstein offered him the job of professor of harmony at the newly formed Moscow Conservatory. It was here that he wrote his first serious works which included AA Festival Overture on the Danish National Hymn,@ his First Symphony in G AWinter Daydreams,@ and his first opera AThe Voyevode.@ Showing his desire for perfection he tore up the opera because he was dissatisfied with it and it wasn=t until 1949 that it was revived.5

The reason why I have chosen to write about The Firebird is because it was Stravinsky’s first ballet and a milestone in modernist culture. Because of its modernist attributes, The Firebird became very famous within ballet circles.

There were many elements of Stravinsky's Firebird finale that communicated most readily to me. The first that comes to mind was the sudden key shift to the minor key near the end of the finale, back to a triumphant, louder dynamic. The contrasts in dynamics at the end when the musics grew louder communicated to me a victory, and the different tone colors used before that communicated to me a winding up, or rather a building up, of the piece to that final moment. The entire piece demonstrated a great example of movement to the final cadence, in the contrasting dynamics and various textures that were played. One of the more subtly used musical devices was when the violins were played at an octave higher and accompanied by the flutes to communicate

Music can be extraordinarily influential in films, as it has the ability to evoke emotion not displayed by on-screen action. Music used in films can play many roles; it can depict time and place, mood, atmosphere, character, and can be used to underscore the onscreen drama and titles. Alan Silvestri and John Williams successfully manipulate the use of music in film to establish characters (along with their personality, actions and changing emotions), as well as underscore the mood for the entirety of their given films. The contrasts of Silvestri’s “The Feather Theme” with Williams’ “Batman Theme” exemplify the power of music in film.

'It seems to me, my dear friend, that the music of this ballet will be one of my best creations. The subject is so poetic, so grateful for music, that 1 have worked on it with enthusiasm and written it with the warmth and enthusiasm upon which the worth of a composition always depends." - Tchaikovsky, to Nadia von Meck.