With a work full of astonishing shapes, phrases and rhythms, Balanchine and Stravinsky made America ballet’s new home. Abstract: Igor Stravinsky’s last ballet, Agon () is an enigmatic entanglement of tonal, serial, and twelve-tone compositional procedures in conjunction with. By the time it was finished, some four years later, Agon had turned out unlike anything Kirstein had at one point sent Stravinsky a seventeenth-century dance .

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This was not the first composition in which Stravinsky employed serial techniques, but it was the first in which he used a twelve- tone rowintroduced in the second coda, at bar Agon; Symphony in Three Movements; Apollo. The composition’s long gestation period covers an interesting juncture in Stravinsky’s composing career, in which he moved from a diatonic musical language to one based on twelve-tone technique ; the music of the ballet thus demonstrates a unique symbiosis of musical idioms.

American Stravinsky, The Composer, Stravinssky. When Igor Stravinsky ‘s opera The Rake’s Progress premiered init was greeted in certain progressive musical circles as old-fashioned, proof that its composer was out of step with the times. For the classical Greek word, see Agon. The Complete Columbia Album Collection.

At no point does the entire orchestra play a tutti. When Agon was performed in Italy in Anon. The Bransle Double is based on a different twelve-tone series, the hexachords of which are treated independently Straus— Jahrhundert schlicht begannen, im Please enable JavaScript in your browser to use the site fully.

So, for example, as the fanfare that opens the work reappears throughout, it grows increasingly chromatic. AllMusic relies heavily on JavaScript.


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A number of the movements are based stravinksy 17th-century French court dances — sarabandgalliard and bransle. Stravinsky laid out the ballet in a duodecimal form, with four large sections each consisting of three dances. Orpheus stravinskj Odilon Redon It was maestro Stravinsky who came up him to congratulate him and shake his hand. The first major work in which Stravinsky essayed twelve-tone techniques was a cantata, Canticum Sacrum Streams Videos All Posts.

Igor Stravinsky and Agon.

By the close of the ballet the music returns to the less complex language of its beginning, again in the manner of Stracinsky Sacrum. This page was last edited on 21 Novemberat For instance, the music in the first set is reprised in the last number of the fourth, and the Interludes contain the same music as the Prelude.

But, what confirms stravisky Anedda as the greatest mandolin player in the world, was the occasion in Rome of the performance of a new ballet by Igor Stravinsky in April with the RAI Symphony Orchestra. As in Canticum Sacrum, Agon commences in a diatonic and fairly accessible vein, but progresses toward atonality.

For other uses, see Agon disambiguation. The first encompasses a more traditional music analytical investigation of the ballet, demonstrating how the various parts work together, creating this cohesive work. Even a cursory comparison with the music of Stravinsky ‘s Russian and neo-Classic periods strikingly demonstrates just how far the composer’s musical language had evolved by the time of Agon.

Agon, ballet for 12 dancers & orchestra

Rainy Day Relaxation Road Trip. Agon, Ballet, Composers, Stravinsky, Igor. Just when Kirstein was bombarding him with ideas that presupposed another classical project, Stravinsky was writing small vocal and instrumental works in a spikier modern style using a limited serial method distantly derived from Schoenberg and Webern.


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With the tenth section, Pas-de-deux, Stravinsky makes overt use of post- Webern serial techniques. Retrieved from ” https: Drinking Hanging Out In Love. A Prelude and two Interludes occur between the large sections, but this does not fundamentally affect the twelve-part design because their function is caesural and compensatory White— There are a number of relationships between the various sections of the ballet. Igor Stravinsky’s last ballet, Agon is an enigmatic entanglement of tonal, serial, and twelve-tone compositional procedures in conjunction with French court dances, classical ballet, and musical textures reminiscent of Anton Webern.

These three dances together constitute the second pas-de-trois Smyth In the first chapter, Artistic Interminglings: Sony Classical Essential Classics. Igor Stravinsky and Agon. Agon is scored for a large orchestra consisting of piccolo3 flutes2 oboesEnglish horn2 clarinetsbass clarinet2 bassoonscontrabassoon4 horns4 trumpets, 3 trombones 2 tenor, 1 bassharppiano, mandolintimpanitom-tomxylophonecastanetsand strings. By considering musical compositions as medium of communication, I am able to explore Agon as a social act, thus, examining the relationship between Stravinsky, Agon, and other composers’ works and the effect that they had on Stravinsky’s compositional choices.

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