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Stravinsky, God, and Time
Reihe: - Consciousness, Literature and the Arts, Band: 59
Autor:in:
If, as Robert Craft remarked, ‘religious beliefs were at the core of Stravinsky’s life and work’, why have they not figured more prominently in discussions of his works?
Stravinsky’s coordination of the listener with time is central to the unity of his compositional style. This ground-breaking study looks at his background in Russian Orthodoxy, at less well-known writings of Arthur Lourié and Pierre Souvtchinsky and at the Catholic philosophy of Jacques Maritain, that shed light on the crucial link between Stravinsky’s spirituality and his restoration of time in music.
Recent neuroscience research supports Stravinsky’s eventual adoption of serialism as the natural and logical outcome of his spiritual and musical quest.
Stravinsky’s coordination of the listener with time is central to the unity of his compositional style. This ground-breaking study looks at his background in Russian Orthodoxy, at less well-known writings of Arthur Lourié and Pierre Souvtchinsky and at the Catholic philosophy of Jacques Maritain, that shed light on the crucial link between Stravinsky’s spirituality and his restoration of time in music.
Recent neuroscience research supports Stravinsky’s eventual adoption of serialism as the natural and logical outcome of his spiritual and musical quest.
Helen Sills is an independent scholar and professional musician. She studied at The Royal College of Music and the Universities of Nottingham and Birmingham, gaining her Ph.D in the music of Stravinsky in 1992. As a member of the International Society for the Study of Time she has published several papers on music and time.
Acknowledgements
List of Tables and Illustrations
Notes on Previously Published Material
Prologue
1 The Stravinsky Legacy?
1 ‘Time’ for a New Legacy?
2 Being and Time: A Nightingale Sings …
1 Stravinsky’s Spirituality …
2 … and Musical Inheritance
3 Temporality in Znamenny Chant
4 Resonance
5 Le Rossignol (1908–14)
3 From Now to Eternity
1 Petrushka (1911)
2 Zvezdoliki (1911)
2.1 Stravinsky and the Old Believers
2.2 Time Qualities in Zvezdoliki
4 A Russian Spring
1 Time as a Mental Construct
2 The Rite of Spring
3 Time Qualities in The Rite of Spring
5 A Japanese Spring
6 Heaven and Earth
1 The 025 Motif and Changing Time Qualities
7 New Patterns for Old
1 Cortical Patterning
2 Three Pieces for String Quartet (1914)
3 Chant Dissident (1919)
4 Pulcinella (1919–20)
5 Symphonies of Wind Instruments (1920) and Cubism
6 Symphonies of Wind Instruments (1920): Temporal Form
7 Time and Form: Jacques Maritain
8 Time for Pushkin
9 The Object Is Time
1 Mental Imaging
2 Octet (1923)
3 Oedipus Rex (1926)
4 Apollo (1928)
5 Lourié’s Understanding of Stravinsky
10 A Journey to Hyperspace
1 1st Movement
2 2nd Movement
3 3rd Movement
4 Music as a Higher Brain Function
11 Faith Matters
1 Pater Noster (1926)
2 Russian Credo (1932)
3 Ave Maria (1934)
4 Tests of Faith
5 Perséphone (1933)
6 Darker Times
7 Babel (1944)
8 Mass (1944–48)
8.1 Kyrie
8.2 Gloria
8.3 Credo
8.4 Sanctus
8.5 Agnus Dei
9 The Poetics of Stravinsky and Maritain
12 A Matter of Time
13 Stravinsky, Schoenberg and God
1 Belief in Divine Authority
2 Belief in the Hebrew God
3 Belief in Biblical Mythology
4 Belief in Catholic Culture
5 Devotion to the Word
6 Synthesis
14 New Wine
1 Cantata (1952)
2 Stravinsky, Webern and God
3 Canticum Sacrum (1955)
4 Threni (1958)
4.1 De Elegia Prima
4.2 De Elegia Tertia
4.3 De Elegia Quinta
15 Late Harvest
1 A Sermon, A Narrative and A Prayer (1961)
1.1 A Sermon
1.2 A Narrative
1.3 A Prayer
2 Two Bible Stories: The Flood (1962) and Abraham and Isaac (1963)
3 The Flood (1962)
4 Abraham and Isaac (1962–3)
5 Requiem Canticles (1966)
5.1 Prelude
5.2 Exaudi
5.3 Dies Irae
5.4 Tuba Mirum
5.5 Interlude
5.6 Rex Tremendae
5.7 Lacrimosa
5.8 Libera Me
5.9 Postlude
Epilogue
Appendix 1 Victor Ivanovitch Nesmelov: The Science of Man
Appendix 2 Gisèle Brelet
Bibliography
Index
List of Tables and Illustrations
Notes on Previously Published Material
Prologue
1 The Stravinsky Legacy?
1 ‘Time’ for a New Legacy?
2 Being and Time: A Nightingale Sings …
1 Stravinsky’s Spirituality …
2 … and Musical Inheritance
3 Temporality in Znamenny Chant
4 Resonance
5 Le Rossignol (1908–14)
3 From Now to Eternity
1 Petrushka (1911)
2 Zvezdoliki (1911)
2.1 Stravinsky and the Old Believers
2.2 Time Qualities in Zvezdoliki
4 A Russian Spring
1 Time as a Mental Construct
2 The Rite of Spring
3 Time Qualities in The Rite of Spring
5 A Japanese Spring
6 Heaven and Earth
1 The 025 Motif and Changing Time Qualities
7 New Patterns for Old
1 Cortical Patterning
2 Three Pieces for String Quartet (1914)
3 Chant Dissident (1919)
4 Pulcinella (1919–20)
5 Symphonies of Wind Instruments (1920) and Cubism
6 Symphonies of Wind Instruments (1920): Temporal Form
7 Time and Form: Jacques Maritain
8 Time for Pushkin
9 The Object Is Time
1 Mental Imaging
2 Octet (1923)
3 Oedipus Rex (1926)
4 Apollo (1928)
5 Lourié’s Understanding of Stravinsky
10 A Journey to Hyperspace
1 1st Movement
2 2nd Movement
3 3rd Movement
4 Music as a Higher Brain Function
11 Faith Matters
1 Pater Noster (1926)
2 Russian Credo (1932)
3 Ave Maria (1934)
4 Tests of Faith
5 Perséphone (1933)
6 Darker Times
7 Babel (1944)
8 Mass (1944–48)
8.1 Kyrie
8.2 Gloria
8.3 Credo
8.4 Sanctus
8.5 Agnus Dei
9 The Poetics of Stravinsky and Maritain
12 A Matter of Time
13 Stravinsky, Schoenberg and God
1 Belief in Divine Authority
2 Belief in the Hebrew God
3 Belief in Biblical Mythology
4 Belief in Catholic Culture
5 Devotion to the Word
6 Synthesis
14 New Wine
1 Cantata (1952)
2 Stravinsky, Webern and God
3 Canticum Sacrum (1955)
4 Threni (1958)
4.1 De Elegia Prima
4.2 De Elegia Tertia
4.3 De Elegia Quinta
15 Late Harvest
1 A Sermon, A Narrative and A Prayer (1961)
1.1 A Sermon
1.2 A Narrative
1.3 A Prayer
2 Two Bible Stories: The Flood (1962) and Abraham and Isaac (1963)
3 The Flood (1962)
4 Abraham and Isaac (1962–3)
5 Requiem Canticles (1966)
5.1 Prelude
5.2 Exaudi
5.3 Dies Irae
5.4 Tuba Mirum
5.5 Interlude
5.6 Rex Tremendae
5.7 Lacrimosa
5.8 Libera Me
5.9 Postlude
Epilogue
Appendix 1 Victor Ivanovitch Nesmelov: The Science of Man
Appendix 2 Gisèle Brelet
Bibliography
Index
This book is of interest to both academic and performing musicians, in universities and music colleges, specialist music libraries and music shops, but also to those interested in bridging religion and science, and religion and the arts. Although its technical content is pitched at trained musicians, its wide-ranging material would also be of interest to the serious general reader.