{"id":1673,"date":"2017-03-29T02:34:01","date_gmt":"2017-03-29T02:34:01","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=1673"},"modified":"2020-04-11T21:52:14","modified_gmt":"2020-04-11T21:52:14","slug":"primitivism-stravinsky-rite-of-spring","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/primitivism-stravinsky-rite-of-spring\/","title":{"raw":"Stravinsky","rendered":"Stravinsky"},"content":{"raw":"

Stravinsky<\/h2>\r\n
\r\n
\r\n\r\nCan we wrap text here (below) ?\r\n\r\n\"FigureIgor Stravinsky is a towering figure of twentieth century music.\u00a0 Schoenberg\u2019s twelve-tone atonality on the one hand and Stravinsky\u2019s neo-classicism (the style in which he wrote a good deal of his music) on the other\u00a0 represent two major streams of compositional thought in the modern era.\u00a0 Both men, as a result of upheaval in Europe and Russia,\u00a0 made the United States their home but lived a short distance from each other in Los Angeles for years.\u00a0Near the end of his career, and only after Schoenberg\u2019s death, Stravinsky experimented with twelve-tone composition.\r\n\r\nHis life\r\nI<\/strong>gor Stravinsky (1882 \u2013 1971) \u00a0Russian (and later, a naturalized French and American) composer, pianist and conductor is widely considered one of the most important and influential composers of the 20th century. His \u00a0compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev\u2019s Ballets Russes: The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913). The last of these transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky\u2019s enduring reputation as a musical revolutionary who pushed the boundaries of musical design. His \u201cRussian phase\u201d was followed in the 1920s by a period in which he turned to neoclassical music. The works from this period often paid tribute to the music of earlier masters, such as J.S. Bach and Tchaikovsky. They \u00a0make use of traditional musical forms (concerto grosso, fugue and symphony). In the 1950s, Stravinsky adopted serial procedures. His compositions of this period shared traits with examples of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a few two- or three-note cells and clarity of form, of instrumentation and of utterance.\r\n\r\nLife and career\r\n<\/strong>Early life in the Russian Empire\r\n\r\nStravinsky was born \u00a01882 near Saint Petersburg, the Russian imperial capital, and was brought up in Saint Petersburg. His father, Fyodor Stravinsky, was \u00a0a bass singer at the Mariinsky Theatre in St. Petersburg. \u00a0Stravinsky began piano lessons as a young boy, studying music theory and attempting composition. In 1890, he saw a performance of Tchaikovsky\u2019s ballet The Sleeping Beauty at the Mariinsky Theatre.\r\n\r\nIn the summer of 1902 Stravinsky studied with composer Nikolai Rimsky-Korsakov\u00a0 whom he came to regard as a second father. His study\u00a0 continued until Rimsky\u2019s death in 1908\r\n\r\nIn February 1909, two orchestral works, the Scherzo fantastique and Feu d\u2019artifice (Fireworks) were heard by Sergei Diaghilev, who was at that time involved in planning to present Russian opera and ballet in Paris. Diaghilev was sufficiently impressed by Fireworks to commission Stravinsky to do some arrangements\u00a0 and then to compose a full-length ballet score, The Firebird. Stravinsky became an overnight sensation following the success of it's\u00a0 premiere in Paris in June 1910. \u00a0Over the next four years \u00a0 Stravinsky composed two further works for the Ballets Russes: Petrushka (1911), and Le Sacre du printemps (The Rite of Spring; 1913).\r\n\r\nDuring the time he\u00a0was writing Histoire du soldat (The Soldier\u2019s Tale), Stravinsky approached the Swiss philanthropist Werner Reinhart for financial assistance.\u00a0 Reinhart\u00a0 funded a series of concerts of his chamber music in 1919. Included was the suite from Histoire du soldat arranged for violin, piano and clarinet.\u00a0 Leopold Stokowski gave Stravinsky regular support through a pseudonymous benefactor in the early 1920s,\r\n\r\nStravinsky\u00a0 became French citizen 1934 and moved to the rue du Faubourg Saint-Honor\u00e9 in Paris. During his later years in Paris, Stravinsky had developed professional relationships with key people in the United States: he was already working on his Symphony in C for the Chicago Symphony Orchestra and he had agreed to deliver the prestigious Charles Eliot Norton Lectures at Harvard University during the 1939\u201340 academic year.\r\n\r\nLife in the United States\r\n<\/strong>In September 1939, the Stravinsky sailed for the United States.\u00a0 Stravinsky settled in West Hollywood, spending more time living in Los Angeles than any other city.\u00a0Moving to America represented a siginificant change for Stgravinsky.\u00a0 He was drawn to the growing cultural life of Los Angeles, especially during World War II, when so many writers, musicians, composers and conductors,\u00a0 Otto Klemperer, Thomas Mann, Franz Werfel, George Balanchine and Arthur Rubinstein settled in the area. British writers such as\u00a0 \u201clike W. H. Auden, Christopher Isherwood, Dylan Thomas who visited him in Beverly Hills,. They shared the composer\u2019s taste for hard spirits\u2014especially Aldous Huxley, with whom Stravinsky had a tradition of Saturday lunches for west coast avant-garde and luminaries.\r\n\r\nStravinsky\u2019s unconventional dominant seventh chord in his arrangement of \u201cThe Star-Spangled Banner\u201d led to an incident with the Boston police in 1944, and he was warned that the authorities could impose a $100 fine upon any \u201crearrangement of the national anthem in whole or in part.\u201d The police, as it turned out, were wrong as the law in question merely forbade using the national anthem \u201cas dance music, as an exit march, or as a part of a medley of any kind\u201d.\u00a0 However\u00a0 the incident soon established itself as a myth, in which Stravinsky was supposedly arrested, held in custody for several nights, and photographed for police records.\r\n\r\nStravinsky\u2019s Music\r\n<\/strong>(Stravinsky\u2019s output is typically divided into three general style periods:\u00a01.\u00a0 a Russian period, 2.\u00a0 a neoclassical period, and\u00a0 3. a serial period.)<\/strong>\r\n\r\n1. Russian Period (c. 1907\u20131919)\r\n<\/strong>Aside from a very few surviving earlier works, Stravinsky\u2019s Russian period began with compositions undertaken under the tutelage of Nikolai Rimsky-Korsakov, with whom he studied from 1905 until Rimsky\u2019s death in 1908, including the orchestral works: Symphony in E-flat major (1907), Faun and Shepherdess (for mezzo-soprano and orchestra; 1907), Scherzo fantastique (1908), and Feu d\u2019artifice (1908\/9). These works clearly reveal the influence of Rimsky-Korsakov, they also reveal Stravinsky\u2019s knowledge of music by Glazunov,\u00a0 Tchaikovsky, Wagner, Dvo\u0159\u00e1k, and Debussy, among others.\r\n\r\nBelow is a video of Dance of the Firebird \u00a0from Stravinsky\u2019s Fire bird ballet. Note the very impressionistic style of this work reminding one of \u00a0the music of Debussy . The Rite of Spring presented later in this topic was composed only a few years later but \u00a0radically different in its sometimes harsh \u00a0primitive style.\r\n\r\nhttps:\/\/youtu.be\/EC6MmmLKEmA\r\n\r\nh2. Neoclassical Period (c. 1920\u20131954)\r\n<\/strong>Apollon (1928), Persephone (1933) and Orpheus (1947) exemplify not only Stravinsky\u2019s return to the music of the Classical period, but also his exploration of themes from the ancient Classical world, such as Greek mythology. In 1951, he completed his last neo-classical work, the opera The Rake\u2019s Progress, to a libretto by W. H. Auden that was based on the etchings of William Hogarth. It premiered in Venice that year and was produced around Europe the following year, before being staged in the New York Metropolitan Opera in 1953.\r\n\r\n3. Serial Period (1954\u20131968)\r\n<\/strong>In the 1950s, Stravinsky began using serial compositional techniques such as dodecaphony, the twelve-tone technique originally devised by Arnold Schoenberg. He first experimented with non-twelve-tone serial techniques in small-scale vocal and chamber works such as the Cantata (1952), the Septet (1953) and Three Songs from Shakespeare (1953). The first of his compositions fully based on such techniques was In Memoriam Dylan Thomas (1954). Agon (1954\u201357) was the first of his works to include a twelve-tone series and Canticum Sacrum (1955) was the first piece to contain a movement entirely based on a tone row. Stravinsky expanded his use of dodecaphony in works such as Threni (1958) and A Sermon, a Narrative and a Prayer (1961), which are based on biblical texts, and The Flood (1962), which mixes brief biblical texts from the Book of Genesis with passages from the York and Chester Mystery Plays.\r\n\r\nListen to In Memorian Dylan Thomas. Note the\u00a0 dissonance and total lock of tonal center, yet the\u00a0 work has motion and direction.\r\n\r\nhttps:\/\/youtu.be\/I20KHySOOAM\r\n\r\nInnovation and Influence\r\n<\/strong>Stravinsky has been called \u201cone of music\u2019s truly epochal innovators.\u201d\u00a0The most important aspect of Stravinsky\u2019s work\u00a0 is the \u2018changing face\u2019 of his compositional style while always \u201cretaining a distinctive, essential identity.\u201d\r\n
\"Figure<\/div>\r\nStravinsky with Wilhelm Furtw\u00e4ngler, German conductor and composer.\r\n\r\nStravinsky\u2019s composition traits include \u00a0motivic<\/strong>\u00a0development (musical figures repeated in different \u00a0forms throughout a composition or section of a work). In addition,\u00a0 additive\u00a0motivic<\/strong>\u00a0development where notes are subtracted or added to a motif without regard to consequent changes in meter. This \u00a0technique can be found as early as the sixteenth century in the music of Cipriano de Rore, Lassus, \u00a0Gesualdo \u00a0etc. \u00a0Stravinsky exhibited considerable familiarity with composers in this period..\r\n\r\nThe Rite of Spring is notable for its relentless use of\u00a0ostinati.<\/strong>\u00a0 An\u00a0 example in the rite of Spring is\u00a0 the eighth note\u00a0ostinato<\/strong>\u00a0on strings accented by eight horns in \u201cAugurs of Spring (Dances of the Young Girls).\u201d The Rite contains passages where several\u00a0ostinati<\/strong>\u00a0clash against one another. Stravinsky was noted for his distinctive use of rhythm, especially in The Rite of Spring. According to the composer Philip Glass, \u201cthe idea of pushing the rhythms across the bar lines led the way to a rhythmic structure of music which became much more fluid and in a certain way spontaneous.\u201d Glass mentions Stravinsky\u2019s \u201cprimitive, offbeat rhythmic drive.\u00a0 \u201d According to Andrew J. Browne, \u201cStravinsky is perhaps the only composer who has raised rhythm in itself to the dignity of art.\u201d Stravinsky\u2019s rhythm and vitality greatly influenced the composer Aaron Copland.\r\n\r\nOver the course of his career, Stravinsky called for a wide variety of orchestral, instrumental, and vocal forces, ranging from single instruments in such works as Three Pieces for Clarinet (1918) or Elegy for Solo Viola (1944) to the enormous orchestra of The Rite of Spring (Le Sacre du printemps; 1913) which Aaron Copland characterized as \u201cthe foremost orchestral achievement of the 20th century.\u201d\u00a0 The three ballets composed for Diaghilev\u2019s Ballets Russes call for particularly large orchestras.\u00a0 In the original version of Petrushka (1911) the particularly prominent role of the piano is notable.\r\n\r\nhttps:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=733&action=edit\r\nIt is hard to understate the impact of\u00a0Rite of Spring<\/em>\u00a0on the music that came afterward. The jarring rhythms and the use of traditional instruments in non-traditional ways paved the way for the experiments of later composers.\r\n\r\nHere is a scene by scene breakdown of the music we listen to. The music is telling, and the dancers are depicting a story. It is important that you know the specifics of that story. You should also remember that even though\u00a0Rite of Spring<\/em>\u00a0consists of two parts, and we only have the first part on our playlist.\r\n

Primitivism and \u00a0The Rite of Spring<\/h2>\r\n
\r\n\r\n\"Figure<\/a>\r\n

Figure 1. Part of Nicholas Roerich\u2019s designs for Diaghilev\u2019s 1913 production of Le Sacre du printemps<\/p>\r\n\r\n<\/div>\r\n

\r\n\r\n\"Figure<\/a>\r\n

Figure 1. Paul Gauguin, Nafea Faa Ipoipo (When Will You Marry?), 1892.<\/p>\r\n\r\n<\/div>\r\nhttps:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=731&action=edit\r\n\r\n\u00a0<\/em>Like so many other movements of the early 20th century,\u00a0primitivism<\/strong>\u00a0had its origins in the visual arts. Painters like Paul Gauguin and Pablo Picasso became disillusioned with Western art traditions and sought inspiration in the works of indigenous cultures, untrained painters, and children\u2019s art. They depicted their subjects using non-traditional perspectives. This link will take you to many examples of primitive art:\r\n\r\nhttps:\/\/www.google.com\/search?q=primitive+art&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwjT36Kny8PXAhUC2yYKHUxHCCIQsAQIZg&biw=1095&bih=681<\/a>\r\n\r\nAs composers tried to explore this same sense of non-Western perspective through music, they often emphasized the musical element of rhythm in their effort to express an ancient or aboriginal attitude.\u00a0 Although a large body of significant works in the primitive style does not\u00a0 remain in the concert repertoire, yet\u00a0 one of the greatest works of the early twentieth century does \u00a0exhibit this style \u2013 \u00a0Stravinsky\u2019s\u00a0Rite of Spring<\/em>.\u00a0 The subject of this ballet is an imagined pagan, sacrificial rite in ancient Russia. It features jarring, repetitive rhythms and extensive use of percussion to evoke an older, less civilized time. \u00a0In the visual arts primitivism\u00a0 had many important adherents who produced a large number of major works. When we speak of primitivism \u00a0in music it is almost always in connection to\u00a0Rite of Spring<\/em>.\r\n\r\nhttps:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=732&action=edit\r\n\r\nThe Rite of Spring<\/b><\/i>\u00a0(French:\u00a0Le Sacre du printemps<\/b><\/i><\/span>, Russian:\u00a0\u00ab\u0412\u0435\u0441\u043d\u0430 \u0441\u0432\u044f\u0449\u0435\u043d\u043d\u0430\u044f\u00bb<\/b>,Vesna svyashchennaya<\/i><\/span>) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1913 Paris season of Sergei Diaghilev\u2019s Ballets Russes\u00a0company; the original choreography was by Vaslav Nijinsky, with stage designs and costumes by Nicholas Roerich. When first performed, at the Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es on 29 May 1913, the avant-garde nature of the music and choreography caused a sensation and\u00a0a near-riot in the audience. Although designed as a work for the stage, with specific passages accompanying characters and action,\u00a0the music achieved equal if not greater recognition as a concert piece, and is widely considered to be one of the most influential musical works of the 20th century.\r\n\r\nPremier:\u00a0<\/strong>The premier was May 29th 1913\u00a0<\/strong>\u00a0The\u00a0<\/strong>final rehearsal \u00a0in the presence of members of the press and assorted invited guests all went peacefully according to Stravinsky. \u00a0However, the critic of\u00a0L\u2019\u00c9cho de Paris<\/i>, Adolphe Boschot, foresaw possible trouble; he wondered how the public would receive the work, and suggested that they might react badly if they thought they were being mocked.\r\n\r\nOn the evening of the \u00a0premier \u00a0the theatre was packed: \u00a0\u201cNever\u00a0. . . has the hall been so full, or so resplendent; the stairways and the corridors were crowded with spectators eager to see and to hear.\u201d Some eyewitnesses and commentators said that the disturbances in the audience began during the Introduction, and grew into a crescendo when the curtain rose on the stamping dancers in \u201cAugurs of Spring.\u201d But music historian Richard Taruskin asserts, \u201cit was not Stravinsky\u2019s music that did the shocking. It was the ugly earthbound lurching and stomping devised by Vaslav Nijinsky.\u201d \u00a0Stravinsky writes that the derisive laughter disgusted him, and that he left the auditorium to watch the rest of the performance from the stage wings. The demonstrations, he says, grew into \u201ca terrific uproar\u201d which, \u00a0drowned out the voice of Nijinsky who was shouting the step numbers to the dancers.\r\n

\r\n\r\n\"Figure<\/a>\r\n

Figure 3. Dancers in Nicholas Roerich\u2019s original costumes. From left, Julitska, Marie Rambert, Jejerska, Boni, Boniecka, Faithful<\/p>\r\n\r\n<\/div>\r\nPierre Monteux, the conductor \u00a0believed that the trouble began when the two factions in the audience began attacking each other, but their mutual anger was soon diverted towards the orchestra: \u201cEverything available was tossed in our direction, but we continued to play on\u201d. Around forty of the worst offenders were ejected\u2014possibly with the intervention of the police, although this is uncorroborated. Through all the disturbances the performance continued without interruption. Things grew noticeably quieter during Part II, and by some accounts Maria Piltz\u2019s rendering of the final \u201cSacrificial Dance\u201d was watched in reasonable silence. At the end there were several curtain calls for the dancers, for Monteux and the orchestra, and for Stravinsky and Nijinsky before the evening\u2019s programme continued.\r\n\r\nStravinsky\u2019s score contains many novel features for its time, including experiments in tonality, metre, rhythm, stress and dissonance. Analysts have noted in the score a significant grounding in Russian folk music, a relationship Stravinsky tended to deny. The music has influenced many of the 20th-century\u2019s leading composers, and is one of the most recorded works in the classical repertoire.\r\n\r\nSynopsis and Structure\r\n<\/strong>Stravinsky described\u00a0The Rite of Spring<\/i>\u00a0as \u201ca musical-choreographic work, [representing] pagan Russia\u00a0. . . unified by a single idea: the mystery and great surge of the creative power of Spring\u201d. In his analysis of\u00a0The Rite<\/i>, Pieter van den Toorn writes that the work lacks a specific plot or narrative, and should be considered as a succession of choreographed episodes.\r\n\r\nhttps:\/\/youtu.be\/mfczUgr1qu4\r\n\r\n \r\n\r\n \r\n\r\n<\/div>\r\n<\/div>","rendered":"

Stravinsky<\/h2>\n
\n
\n

Can we wrap text here (below) ?<\/p>\n

\"FigureIgor Stravinsky is a towering figure of twentieth century music.\u00a0 Schoenberg\u2019s twelve-tone atonality on the one hand and Stravinsky\u2019s neo-classicism (the style in which he wrote a good deal of his music) on the other\u00a0 represent two major streams of compositional thought in the modern era.\u00a0 Both men, as a result of upheaval in Europe and Russia,\u00a0 made the United States their home but lived a short distance from each other in Los Angeles for years.\u00a0Near the end of his career, and only after Schoenberg\u2019s death, Stravinsky experimented with twelve-tone composition.<\/p>\n

His life
\nI<\/strong>gor Stravinsky (1882 \u2013 1971) \u00a0Russian (and later, a naturalized French and American) composer, pianist and conductor is widely considered one of the most important and influential composers of the 20th century. His \u00a0compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev\u2019s Ballets Russes: The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913). The last of these transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky\u2019s enduring reputation as a musical revolutionary who pushed the boundaries of musical design. His \u201cRussian phase\u201d was followed in the 1920s by a period in which he turned to neoclassical music. The works from this period often paid tribute to the music of earlier masters, such as J.S. Bach and Tchaikovsky. They \u00a0make use of traditional musical forms (concerto grosso, fugue and symphony). In the 1950s, Stravinsky adopted serial procedures. His compositions of this period shared traits with examples of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a few two- or three-note cells and clarity of form, of instrumentation and of utterance.<\/p>\n

Life and career
\n<\/strong>Early life in the Russian Empire<\/p>\n

Stravinsky was born \u00a01882 near Saint Petersburg, the Russian imperial capital, and was brought up in Saint Petersburg. His father, Fyodor Stravinsky, was \u00a0a bass singer at the Mariinsky Theatre in St. Petersburg. \u00a0Stravinsky began piano lessons as a young boy, studying music theory and attempting composition. In 1890, he saw a performance of Tchaikovsky\u2019s ballet The Sleeping Beauty at the Mariinsky Theatre.<\/p>\n

In the summer of 1902 Stravinsky studied with composer Nikolai Rimsky-Korsakov\u00a0 whom he came to regard as a second father. His study\u00a0 continued until Rimsky\u2019s death in 1908<\/p>\n

In February 1909, two orchestral works, the Scherzo fantastique and Feu d\u2019artifice (Fireworks) were heard by Sergei Diaghilev, who was at that time involved in planning to present Russian opera and ballet in Paris. Diaghilev was sufficiently impressed by Fireworks to commission Stravinsky to do some arrangements\u00a0 and then to compose a full-length ballet score, The Firebird. Stravinsky became an overnight sensation following the success of it’s\u00a0 premiere in Paris in June 1910. \u00a0Over the next four years \u00a0 Stravinsky composed two further works for the Ballets Russes: Petrushka (1911), and Le Sacre du printemps (The Rite of Spring; 1913).<\/p>\n

During the time he\u00a0was writing Histoire du soldat (The Soldier\u2019s Tale), Stravinsky approached the Swiss philanthropist Werner Reinhart for financial assistance.\u00a0 Reinhart\u00a0 funded a series of concerts of his chamber music in 1919. Included was the suite from Histoire du soldat arranged for violin, piano and clarinet.\u00a0 Leopold Stokowski gave Stravinsky regular support through a pseudonymous benefactor in the early 1920s,<\/p>\n

Stravinsky\u00a0 became French citizen 1934 and moved to the rue du Faubourg Saint-Honor\u00e9 in Paris. During his later years in Paris, Stravinsky had developed professional relationships with key people in the United States: he was already working on his Symphony in C for the Chicago Symphony Orchestra and he had agreed to deliver the prestigious Charles Eliot Norton Lectures at Harvard University during the 1939\u201340 academic year.<\/p>\n

Life in the United States
\n<\/strong>In September 1939, the Stravinsky sailed for the United States.\u00a0 Stravinsky settled in West Hollywood, spending more time living in Los Angeles than any other city.\u00a0Moving to America represented a siginificant change for Stgravinsky.\u00a0 He was drawn to the growing cultural life of Los Angeles, especially during World War II, when so many writers, musicians, composers and conductors,\u00a0 Otto Klemperer, Thomas Mann, Franz Werfel, George Balanchine and Arthur Rubinstein settled in the area. British writers such as\u00a0 \u201clike W. H. Auden, Christopher Isherwood, Dylan Thomas who visited him in Beverly Hills,. They shared the composer\u2019s taste for hard spirits\u2014especially Aldous Huxley, with whom Stravinsky had a tradition of Saturday lunches for west coast avant-garde and luminaries.<\/p>\n

Stravinsky\u2019s unconventional dominant seventh chord in his arrangement of \u201cThe Star-Spangled Banner\u201d led to an incident with the Boston police in 1944, and he was warned that the authorities could impose a $100 fine upon any \u201crearrangement of the national anthem in whole or in part.\u201d The police, as it turned out, were wrong as the law in question merely forbade using the national anthem \u201cas dance music, as an exit march, or as a part of a medley of any kind\u201d.\u00a0 However\u00a0 the incident soon established itself as a myth, in which Stravinsky was supposedly arrested, held in custody for several nights, and photographed for police records.<\/p>\n

Stravinsky\u2019s Music
\n<\/strong>(Stravinsky\u2019s output is typically divided into three general style periods:\u00a01.\u00a0 a Russian period, 2.\u00a0 a neoclassical period, and\u00a0 3. a serial period.)<\/strong><\/p>\n

1. Russian Period (c. 1907\u20131919)
\n<\/strong>Aside from a very few surviving earlier works, Stravinsky\u2019s Russian period began with compositions undertaken under the tutelage of Nikolai Rimsky-Korsakov, with whom he studied from 1905 until Rimsky\u2019s death in 1908, including the orchestral works: Symphony in E-flat major (1907), Faun and Shepherdess (for mezzo-soprano and orchestra; 1907), Scherzo fantastique (1908), and Feu d\u2019artifice (1908\/9). These works clearly reveal the influence of Rimsky-Korsakov, they also reveal Stravinsky\u2019s knowledge of music by Glazunov,\u00a0 Tchaikovsky, Wagner, Dvo\u0159\u00e1k, and Debussy, among others.<\/p>\n

Below is a video of Dance of the Firebird \u00a0from Stravinsky\u2019s Fire bird ballet. Note the very impressionistic style of this work reminding one of \u00a0the music of Debussy . The Rite of Spring presented later in this topic was composed only a few years later but \u00a0radically different in its sometimes harsh \u00a0primitive style.<\/p>\n