The Cambridge Companion to Stravinsky
(Sprache: Englisch)
Contains a wide range of essays reflecting the breadth of Stravinsky's musical achievement.
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Contains a wide range of essays reflecting the breadth of Stravinsky's musical achievement.Inhaltsverzeichnis zu „The Cambridge Companion to Stravinsky “
Chronology of Stravinsky's life and career; Part I. Origins and Contexts: 1. Stravinsky's origins Rosamund Bartlett; 2. Stravinsky as modernist Christopher Butler; 3. Stravinsky in context Arnold Whittall; Part II. The Works: 4. Early Stravinsky Anthony Pople; 5. Russian Rites: Petrushka, The Rite of Spring, Les Noces Kenneth Gloag; 6. Stravinsky's neoclassicism Martha Hyde; 7. Stravinsky in the theatre Jonathan Cross; 8. Stravinsky the serialist Joseph N. Straus; Part III. Reception: 9. Stravinsky conducts Stravinsky Nicholas Cook; 10. Stravinsky as devil Max Paddison; 11. Stravinsky and the analytical traditions Craig Ayrey; 12. Stravinsky and the critics Stuart Campbell; 13. Composing with Stravinsky Louis Andriessen and Jonathan Cross; 14. Stravinsky and us Richard Taruskin.
Autoren-Porträt
Jonathan Cross is Reader in Musicology at the University of Bristol. He is author of The Stravinsky Legacy (Cambridge1998) and Harrison Birtwistle: Man, Mind, Music (2000), and is Editor of the journal Music Analysis.
Bibliographische Angaben
- 344 Seiten, Maße: 17 x 24,4 cm, Kartoniert (TB), Englisch
- Herausgegeben: Jonathan Cross, Cross Jonathan
- Verlag: Cambridge University Press
- ISBN-10: 0521663776
- ISBN-13: 9780521663779
- Erscheinungsdatum: 01.03.2008
Sprache:
Englisch
Rezension zu „The Cambridge Companion to Stravinsky “
'... well annotated and illustrated ... it will provide a valuable guide for music students and scholars as well as for music lovers who have the desire and technical knowledge to engage more fully with a major phenomenon in modern music ... Jonathan Cross's Companion deserves to be translated into Russian and published in the country where the heritage of one of its greatest composers seems to be still only partially appreciated.' Slavonic and East European Review
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