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+*** START OF THE PROJECT GUTENBERG EBOOK 40597 ***
+
+  Transcriber's note
+
+  Note de transcription
+
+Minor punctuation inconsistencies have been silently corrected. A list
+of other corrections made can be found at the end of the book.
+
+Les incohérences de ponctuation mineures ont été corrigées. Une liste
+d'autres corrections faites se trouve à la fin du livre.
+
+
+  Mark-up: _italics_
+           =bold=
+
+  Marquage: _mots en italique_
+            =mots en gras=
+
+
+
+
+  MINIATURE ESSAYS::
+
+
+  IGOR STRAVINSKY
+
+
+  Price 6d. (fr. 0.75) Net.
+
+
+  J. & W. CHESTER LTD.
+
+  _London_:--11, Great Marlborough St., W.1 _Genève_:--9-11, Place de la
+  Fusterie.
+
+
+  _Seuls Dépositaires_
+
+  _France_:                            _Belgique_:
+  ROUART, LEROLLE & CIE,             MAISON CHESTER,
+  29, Rue d'Astorg, PARIS.       86, Rue de la Montagne, BRUXELLES.
+
+  _Holland_:                           _Italie_:
+  BROEKMANS & VAN POPPEL,            PIZZI & CIE,
+  92, Baerlestraat, AMSTERDAM.   Via Zamboni 1, BOLOGNA.
+
+
+  _Copyright, 1921 by J. & W. Chester LTD._
+
+
+  PRINTED IN ENGLAND.
+
+
+
+
+[Illustration: Photographie, Robert Regassi, Lausanne
+
+IGOR STRAVINSKY]
+
+
+
+
+IGOR STRAVINSKY
+
+
+Igor Stravinsky was born at Oranienbaum, near St. Petersburg, on June
+5th (18th), 1882. His father, an operatic singer, who won great favour
+with the public of the Russian capital at the Maryinsky Theatre, soon
+discovered remarkable musical gifts in the boy, which he did not neglect
+to develop, although he wished him to grow up to a legal career. In
+accordance with this plan, Igor Stravinsky, on having reached
+adolescence, entered the University of St. Petersburg and devoted
+himself to the study of jurisprudence, not without periodical and almost
+irresistible impulsions to abandon it for music. He had thus reached the
+age of twenty-two, when a meeting with Rimsky-Korsakov, who saw and
+appreciated the young man's astonishing talent, proved the decisive
+event of his life. Rimsky-Korsakov declared himself willing to accept
+him as a pupil.
+
+The direct outcome of Rimsky-Korsakov's tuition was, first of all, a
+Symphony, begun in 1905 and finished in 1907. This was succeeded by
+"Faun and Shepherdess," a song-cycle with orchestra, and two orchestral
+works, "Fireworks" and "Scherzo fantastique." The latter was the means
+of bringing about a meeting that was destined to direct Stravinsky's
+activities into a new channel: he made the acquaintance of Serge
+Diaghilev, who was struck by the vitality and colour of the work he had
+heard, and who induced him to set to music one of the ballets he
+proposed to produce. This was the "Firebird" (1910), which was followed
+in due course by "Petrushka" (1911) and "Le Sacre du Printemps" (1913).
+Next came an opera, begun some years earlier, "The Nightingale,"
+finished in 1914, the second and third acts of which were later
+converted into the symphonic poem, "The Song of the Nightingale" (1917).
+Stravinsky left Russia at an early stage of his career and has since
+lived alternately in Paris and on the shores of the Lake of Geneva.
+
+It is almost impossible to-day to consider the work of Igor Stravinsky
+with the detachment that is the first requisite of a judicious
+appreciation, and to avoid taking part in the violent controversy to
+which it has given rise, a controversy that is in itself a testimony to
+its vitality, for Stravinsky's music is so characteristic an expression
+of the artistic tendencies of our time that even those who most dislike
+it cannot pass it by in silence. It is perhaps hardly paradoxical to
+assert that fundamentally all the critics agree as to its significance,
+and that they differ merely in the point of view from which they regard
+it.
+
+There have been few composers whose development has been as rapid and as
+far-reaching as that of Stravinsky, and this is probably the chief
+reason why his later works so completely baffle anyone who is not
+intimately acquainted with those that precede them. For it cannot be too
+strongly emphasized that, disjointed as Stravinsky's output may appear
+to the superficial observer, it reveals a gradual and very logical
+transformation, in the course of which each work falls into its place
+and contributes something to an evolution--so often mistaken for
+revolution--which is only more difficult to follow than that of most
+other composers because it is so much more rapid. Stravinsky has
+covered, within a decade, a stretch of ground which most others would
+have taken fifty years to traverse, if indeed they would have traversed
+it at all. Small wonder that he leaves many of those who endeavour to
+follow him in a state of breathless vexation by the wayside.
+
+The development began immediately after the Symphony, Stravinsky's first
+work, and the only example of his availing himself of a classical form
+for the expression of his ideas, which were even then sufficiently
+original to force upon him the realization of the necessity of creating
+new and more elastic moulds. The next works, in fact, "Faun and
+Shepherdess," "Fireworks" and "Scherzo fantastique," already give an
+impression of far greater spontaneity and, despite the still apparent
+outside influences, especially Rimsky-Korsakov's, of greater
+individuality. Rimsky-Korsakov's sway over his pupil was, even at this
+early stage, confined to a certain picturesqueness that soon became too
+obvious for Stravinsky, and to the example of the master's glowing
+orchestration, an inheritance destined to bear compound interest in the
+pupil's hands. In the "Firebird" this influence is seen for the last
+time and in a greatly diminished degree, being now restricted to the
+characteristic national treatment of the thematic material. It may be
+remarked in passing that the national element is a secondary matter in
+Stravinsky's music, and that his personal expression always
+predominates; he is above all a _musician_, and only incidentally a
+_Russian_ musician, just as Poushkin was first and foremost a poet, who
+only by the accident of his birth happened to express himself in the
+Russian language. Yet the national idiom in Stravinsky is second only to
+his universally human expression, or we should never have had such a
+work as "Petrushka." In this ballet, still regarded as his masterpiece
+by those who are unable to follow him beyond it, he certainly reached
+full maturity and completely revealed his personality. To consider the
+music of "Petrushka," as the casual listener might be tempted to do, as
+merely descriptive, is to mistake its purpose entirely. With Stravinsky,
+as we may already see in the "Firebird," where it is narrative rather
+than illustrative, music is never subservient to anything else, even
+when it is allied to literary, histrionic or choreographic conceptions.
+It is a separate organism and always remains absolute music that makes
+its appeal to the senses rather than to the intellect. It is not
+explicative, but parallel, it is a stimulant that calls forth other
+ideas; hence the possibility of giving "Le Sacre du Printemps" two
+entirely different choreographic settings. The tendency to provide pure
+music to a scenario with which it is analogous in feeling, but from
+which it remains nevertheless independent, reaches its culmination in
+"L'Histoire du Soldat" and in "Renard." That the music of the former,
+for instance, is capable of being enjoyed separately, as music pure and
+simple, has been proved by more than one concert performance, and will
+be experienced by those who play at home the composer's own Trio
+arrangement (for piano, violin and clarinet), or the piano transcription
+of some of the principal numbers.
+
+A very remarkable feature of "L'Histoire du Soldat" is the manner in
+which Stravinsky explores the possibilities of various forms of popular
+music--not the folk-song, but the music of the fair, the ballroom, or
+the music-hall--which he converts into art-forms that are lifted out of
+their original functions. The Waltz, the Tango, the Rag, become in his
+hands much the same musical assets that the Allemande, the Courante, the
+Sarabande, became in the hands of the old masters. Other examples of
+this conversion of vulgar forms of music may be found in the "Piano Rag
+Music," in the "Ragtime" for small orchestra or piano, in the two sets
+of easy pieces for piano duet, and in the diminutive piano pieces for
+children, "Les Cinq Doigts."
+
+It is difficult to imagine that the principle of absolute music can be
+realized where it is a question of the setting of words; yet Stravinsky
+has succeeded in upholding his ideal even in such works as the
+"Berceuses du Chat," the "Pribaoutki," the "Four Chants Russes" and the
+"Three Histoires pour Enfants." This explains at once the otherwise
+perhaps inexplicable choice of words that have no literary significance.
+To set a great poet's words to music has become for Stravinsky an
+absurdity, because to him the verses themselves are already a completely
+and independently satisfying equivalent of musical emotion. His aim is
+not to write music that performs the functions of applied art, and he is
+therefore on the look-out for texts that are too insignificant or naïve
+in themselves, such as the little popular Russian verses he has chosen.
+They made their appeal to him because of their sonorous and rhythmic,
+not because of any literary quality; they are potential, foreseeing all
+sorts of possibilities which they leave to the composer to realize.
+Stravinsky is sociable and direct; he writes simply for the enjoyment of
+player and hearer alike.
+
+The one quality of Stravinsky's art that no critic has ventured to
+dispute is his consummate mastery of every instrumental resource. His
+combinations of tone-colour always hold surprises in store for us, which
+curiously enough do not seem to wear off even after repeated hearing.
+One of the secrets of the extraordinary resonance that astonishes the
+hearer is the fact that Stravinsky writes for each instrument
+individually as if he were himself a virtuoso on it; he always gives it
+exactly the kind of music to play that suits its particular character.
+He does not transfer the same phrase from one instrument to another
+unless he is sure that it is congenial to both, and he generally prefers
+to give each one something entirely different to do, something that
+invariably goes to the very root of its idiosyncrasy. This tendency
+results in a subtle blending of different rays of colour and degrees of
+light and shade, in a kind of dynamic (as distinct from harmonic) chord
+formation. In the later works, this manner of individualizing each
+instrument has become still more interesting because Stravinsky has more
+closely adapted his medium to his purpose. He distributes his chords
+among instruments of very different character instead of aiming at unity
+of colour, and he thus helps us to hear each of the simultaneously
+sounding notes as a separate value. "L'Histoire du Soldat" and the
+"Ragtime" give an impression of extraordinary plasticity; we have here a
+parallel to the three-dimensional art of the sculptor rather than to the
+deceptive perspective of the painter's canvas. But Stravinsky can at
+will abandon the three dimensions and give us a perfectly satisfying
+study in mere contour, such as we get in the three pieces for solo
+clarinet.
+
+An entirely new conception is the ballet-divertissement, "Les Noces,"
+where in addition to an orchestra from which string instruments are
+excluded, there are four solo voices and a chorus supporting the whole
+fabric of sound, sometimes alternately and sometimes in combination,
+without a single interruption throughout the whole work. The music of
+the _Noces_, like all the later works by Stravinsky, is directly and
+exclusively written to satisfy the auditive faculty of the hearer and it
+is thus a new affirmation of the reaction against the subjective
+expression in music that has so many adepts among the greatest
+composers of the nineteenth and the opening of the present century. If
+he can be compared to any older masters, he certainly has far more
+affinity with Haydn and Mozart than with any nineteenth century
+composer, and it is less surprising than those who are but superficially
+acquainted with his work might be inclined to think, that he should have
+found a very congenial task in composing on the basis of some pieces by
+Pergolesi the ballet of "Pulcinella," a task of which he acquitted
+himself with a delicacy and a reverence that none but a kindred spirit
+could have achieved.
+
+[Decoration]
+
+
+
+
+Igor Strawinsky est né à Oranienbaum, près de St. Petersbourg, 5 (18)
+Juin, 1882. Son père, un chanteur d'opéra qui jouissait d'une grande
+faveur auprès du public de la capitale assidu au Théâtre Marie,
+découvrit bientôt les remarquables dons musicaux de l'enfant et ne
+négligea point de les développer, bien qu'il souhaitât le voir
+poursuivre l'étude du droit. Conformément à cette intention, Igor
+Strawinsky entra par la suite à l'Université de St. Petersbourg et se
+consacra à l'étude de la jurisprudence, non sans de vives et presque
+irrésistibles tentations de l'abandonner pour la musique. Il avait ainsi
+atteint l'âge de vingt-deux ans quand une rencontre avec
+Rimsky-Korsakow, qui vit et apprécia l'étonnant talent du jeune homme,
+fut l'événement qui décida de sa vie. Il se déclara prêt à le prendre
+pour élève.
+
+La conséquence directe de l'enseignement de Rimsky fut, tout d'abord,
+une _Symphonie_ commencée en 1905 et achevée en 1907; et qui fut suivie
+par _Faune et Bergère_, suite de mélodies avec orchestre, et par deux
+oeuvres pour orchestre _Feu d'artifice_ et _Scherzo fantastique_. Cette
+dernière oeuvre fut l'occasion d'une rencontre qui allait engager
+l'activité de Strawinsky dans une nouvelle voie; il fit alors la
+rencontre de Serge de Diaghileff qui fut frappé de la couleur et de la
+vie de l'oeuvre qu'il venait d'entendre et qui décida le compositeur à
+mettre en musique un des ballets qu'il se proposait de monter. Ce fut
+_l'Oiseau de feu_ (1910), suivi peu après par _Petrouchka_ (1911) et _le
+Sacre du Printemps_ (1913). Puis vint un opéra, commencé plusieurs
+années auparavant, _le Rossignol_, achevé en 1914 et dont le deuxième et
+troisième acte furent ensuite convertis en poème symphonique: _le Chant
+du Rossignol_ (1917). Strawinsky avait quitté la Russie au début de sa
+carrière et a vécu depuis lors alternativement à Paris et sur les bords
+du lac de Genève.
+
+Il est presque impossible aujourd'hui de considérer l'oeuvre d'Igor
+Strawinsky avec le détachement qui est la condition d'une appréciation
+judicieuse, et d'éviter de prendre part dans la violente controverse à
+laquelle elle a donné naissance, controverse qui est par elle-même le
+témoignage de la vitalité de cette oeuvre: car la musique de Strawinsky
+est une expression si caractéristique des tendances artistiques de notre
+temps que même ceux qui la détestent le plus ne peuvent la passer sous
+silence. Il est peut-être à peine paradoxal d'affirmer que tous les
+critiques sont essentiellement d'accord sur sa signification et qu'ils
+ne diffèrent que par le point de vue d'où ils la considèrent.
+
+Peu de compositeurs ont connu un développement aussi rapide et aussi
+considérable que Strawinsky, et c'est probablement pourquoi ses
+dernières oeuvres déconcertent si complètement ceux qui ne sont pas
+familiarisés avec des oeuvres précédentes. On ne peut en effet trop
+insister sur le fait que si décousue que puisse paraître l'oeuvre de
+Strawinsky aux yeux d'un observateur superficiel, il révèle une
+évolution graduelle et parfaitement logique au cours de laquelle chaque
+oeuvre prend sa place et contribue à dessiner la courbe d'une évolution,
+(trop souvent considérée comme révolution) qu'il est seulement plus
+difficile de suivre que celle des autres compositeurs parce qu'elle est
+plus rapide. Strawinsky a parcouru en dix ans un chemin que la plupart
+des autres auraient mis cinquante ans à franchir, si même ils l'avaient
+franchi. Comment s'étonner alors qu'il laisse haletants sur le bord de
+la route bon nombre de ceux qui s'efforcent de le suivre?
+
+Ce développement commence aussitôt après la _Symphonie_, première oeuvre
+de Strawinsky, et seul exemple d'utilisation d'une forme classique qu'il
+ait donné pour exprimer ses idées, idées qui étaient dès alors assez
+originales pour l'amener à se créer des moules nouveaux et plus souples.
+Les oeuvres suivantes; _Faune et Bergère_, _Feu d'artifice_ et le
+_Scherzo fantastique_, donnent déjà la sensation d'une spontanéité
+beaucoup plus vive, et en dépit de visibles influences (spécialement
+celle de Rimsky) d'une plus grande individualité. L'empreinte de Rimsky
+sur son élève était, même à cette époque des débuts, limitée à un
+certain pittoresque qui devint bientôt trop _facile_ pour Strawinsky et
+à l'exemple de la brillante orchestration du maître, héritage qui devait
+porter des intérêts composés entre les mains de l'élève. Cette
+influence se montre pour la dernière fois et grandement atténuée dans
+l'_Oiseau de Feu_ et se réduit à l'emploi caractéristiquement national
+du matériel thématique. On peut remarquer en passant que l'élément
+national est une question secondaire dans la musique de Strawinsky, et
+que l'expression personnelle prédomine toujours; il est par dessus tout
+un _musicien_, et seulement occasionnellement un musicien _russe_,
+exactement comme Pouchkine était, d'abord et avant tout, un poète qui
+dut au seul hasard de la naissance de s'exprimer en russe. Mais chez
+Strawinsky l'idiome national ne passe qu'immédiatement après
+l'expression universellement humaine, sans quoi nous n'aurions jamais eu
+_Petrouchka_. Dans ce ballet, que considèrent encore comme son chef
+d'oeuvre ceux qui ne peuvent le suivre plus loin, il a certainement
+atteint sa pleine maturité et révèle complètement sa personnalité.
+Considérer la musique de _Petrouchka_ comme uniquement descriptive,
+ainsi que l'auditeur occasionel peut être tenté de le faire, c'est
+s'abuser entièrement. Chez Strawinsky, ainsi qu'on l'a déjà vu dans
+l'_Oiseau de Feu_, où elle est plutôt un récit qu'une illustration, la
+musique n'est jamais subordonnée à quoique ce soit d'autre, même
+lorsqu'elle se trouve alliée à des conceptions littéraires, théâtrales
+ou chorégraphiques. C'est un organisme séparé et qui demeure toujours de
+la musique absolu s'adressant aux sens bien plus qu'à l'intellect. Elle
+n'est pas explicative, mais parallèle, c'est un stimulant qui éveille
+d'autres idées; de là la possibilité de donner du _Sacre du Printemps_
+deux expressions chorégraphiques entièrement différentes. La tendance à
+attacher, à un scenario, de la musique pure qui, si analogue qu'elle
+puisse être par le sentiment, en demeure cependant indépendante, se
+montre au plus haut point dans l'_Histoire du Soldat_ et dans _Renard_.
+Que la musique de la première, par exemple, puisse être goûtée
+séparément, comme de la musique pure et simple, on en a eu la preuve par
+plus d'une exécution au concert, et on peut l'avoir aussi en jouant chez
+soi l'arrangement en Trio (piano, violon et clarinette) ou la suite pour
+piano que l'auteur a faite de quelques uns des principaux morceaux.
+
+Un caractère très remarquable de l'_Histoire du Soldat_ est la manière
+dont Strawinsky utilise les ressources des diverses formes de la musique
+populaire,--non pas la chanson populaire, mais la musique des foires,
+des salles de bal, ou du "music-hall,"--qu'il convertit en formes d'art
+éloignées de leur fonction originelle. La _Valse_, le _Tango_, le _Rag_
+deviennent entre ses mains des éléments musicaux analogues à ce que
+l'_Allemande_, la _Courante_ ou la _Sarabande_ sont devenues entre les
+mains des Maîtres anciens. D'autres exemples de cette transformation des
+formes vulgaires de la musique se voient dans le _Piano-Rag-music_, dans
+le _Ragtime_ pour petit orchestre et piano, dans les deux séries de
+pièces faciles à quatre mains, et dans les toutes petites pièces de
+piano pour enfants, _les Cinq Doigts_.
+
+Il est difficile d'imaginer que le principe de la musique absolue puisse
+être réalisé lorsqu'il est question de paroles mises en musique;
+pourtant Strawinsky a réussi à rester fidèle à son idéal, même dans des
+oeuvres telles que _Berceuses du chat_, les _Pribaoutki_, les _Quatre
+Chants russes_ et les _Trois Histoires pour enfants_. Cela explique de
+suite le choix, peut-être inexplicable autrement, de paroles qui n'ont
+aucune signification littéraire. Mettre en musique les paroles d'un
+grand poète est devenue pour Strawinsky une absurdité, parce qu'à son
+avis les vers eux-mêmes sont déjà un équivalent satisfaisant,
+complètement et en soi, de l'émotion musicale. Son but n'est pas
+d'écrire de la musique qui remplisse le rôle de l'art appliqué, aussi
+est-il toujours en quête de textes tout a fait insignifiants ou naïfs
+par eux-mêmes, tels que les petits vers populaires russes qu'il a
+choisis. Ils le satisfont par leur qualité sonore et rythmique et non
+pas par leur qualité littéraire: ils contiennent en eux toutes sortes de
+ressources qu'il appartient au compositeur de faire surgir. Strawinsky
+est sociable et direct; il écrit simplement pour la satisfaction de
+l'exécutant et de l'auditeur à la fois.
+
+Une qualité de l'art de Strawinsky qu'aucun critique ne s'est aventuré à
+discuter est sa maîtrise consommée de toutes les ressources
+instrumentales. Ses combinaisons de timbres ont toujours pour nous des
+surprises en réserve, qui assez étrangement, ne semblent pas s'user
+après des auditions répétées. L'un des secrets de l'extraordinaire
+résonnance qui étonne l'auditeur est le fait que Strawinsky écrit pour
+chaque instrument individuellement comme s'il était lui-même un
+virtuose; il lui donne toujours à jouer exactement la sorte de musique
+qui convient à son caractère particulier. Il ne transporte pas la même
+phrase d'un instrument à l'autre, à moins d'être sûr qu'elle peut
+convenir aux deux, et il préfère généralement donner à chacun d'eux
+quelque chose d'entièrement différent, quelque chose qui aille
+invariablement jusqu'aux profondeurs mêmes de son caractère particulier.
+Il en résulte un mélange subtil de rayons de couleurs différentes et de
+nuances de lumière et d'ombre, une sorte de formation dynamique des
+accords (distincte de la formation harmonique). Dans ses dernières
+oeuvres, cette façon d'individualiser chaque instrument est devenue
+encore plus intéressante parce que Strawinsky a étroitement adapté le
+moyen au but. Il distribue ses accords parmi des instruments de
+caractère différent au lieu d'avoir en vue l'unité de couleur, et il
+nous laisse ainsi entendre chacune des notes résonnantes comme une
+valeur séparée. _L'Histoire du Soldat_ et le _Ragtime_ donnent une
+impression d'extraordinaire plasticité: on a ici un parallèle à l'art à
+trois dimensions du sculpteur, plutôt qu'à l'illusoire perspective de la
+toile du peintre. Mais Strawinsky peut aussi abandonner les trois
+dimensions et nous donner une étude de simple contour, parfaitement
+satisfaisante, telle qu'on la trouve dans les _Trois pièces pour
+clarinette seule_.
+
+Une conception tout-à-fait neuve est le ballet-divertissement: _Les
+Noces_ où en plus d'un orchestre d'où la masse habituelle des cordes est
+exclue, l'on trouve quatre voix et un choeur qui supportent toute la
+sonorité, quelquefois alternativement, quelquefois combinés avec elle,
+sans une simple interruption durant tout le cours de l'oeuvre. La
+musique des _Noces_, comme du reste toutes les dernières oeuvres de
+Strawinsky, s'adressant directement et uniquement à l'ouïe de
+l'auditeur, est une nouvelle affirmation de cette réaction contre
+l'expression subjective en musique dont on trouve tant d'adeptes parmi
+les plus grands musiciens du 19e et du commencement de notre siècle.
+S'il fallait le comparer à quelque maître d'autrefois, on lui trouverait
+assurément plus d'affinité avec Haydn et Mozart qu'avec ceux-là, et il
+est moins surprenant que ceux qui ne connaissent que superficiellement
+son oeuvre pourraient le croire, de voir qu'il a trouvé une tâche qui
+lui convenait parfaitement lorsqu'il a composé sur des morceaux de
+musique de Pergolèse le ballet _Pulcinella_, tâche dont il s'est
+acquitté avec une délicatesse et un respect que seul pouvait posséder un
+esprit de la même famille.
+
+[Décoration]
+
+
+
+
+[Illustration: IGOR STRAVINSKY
+
+chansons plaisantes
+
+pour une voix et huit instruments
+
+j. & W. Chester Ltd Londres & Genève]
+
+
+
+
+[Music: [Russian: Zhar' Ptitza]--L'oiseau de feu]
+
+
+
+
+[Music: D'après le manuscrit original, propriété du Conservatoire de
+Musique de Genève.]
+
+
+
+
+    WORKS BY   OEUVRES PAR
+
+    =IGOR STRAVINSKY=
+
+
+  =PIANO=
+
+                                                                 _s. d._
+
+  =Les Cinq Doigts=, 8 Pièces très faciles sur 5 notes           3    0
+
+  =Piano Rag-Music=                                              3    0
+
+  =Ragtime=                                                      4    0
+
+  =Grande Suite de "L'Histoire du Soldat"=                      15    0
+
+
+  =PIANO SCORES--PARTITIONS POUR PIANO=
+
+  =Pulcinella=, Ballet d'après la musique de Pergolesi          15    0
+
+
+  =PIANO (Four Hands--Quatre Mains)=
+
+  =Trois Pièces Faciles=, Marche--Valse--Polka                   2    6
+
+  =Cinq Pièces Faciles=,
+  Andante--Española--Balalaika--Napolitana--Galop                3    6
+
+
+  =CLARINET SOLO--CLARINETTE SEULE=
+
+  =Trois Pièces pour Clarinette seule=                           3    0
+
+
+  =CHAMBER MUSIC--MUSIQUE DE CHAMBRE=
+
+  =Berceuses du Chat=, pour Contralto et 3 Clarinettes
+
+    Score--Partition 6/- Parts--Parties                          6    0
+
+  =Pribaoutki= (=Chansons plaisantes=), pour une Voix, Flûte, Hautbois,
+  Clarinette, Basson, 2 Violons, Alto et Violoncelle
+
+    Score--Partition 8/- Parts--Parties                          10   0
+
+  =Suite de "L'Histoire du Soldat"=, pour Clarinette, Violon et Piano
+                                                                 20   0
+
+
+  _All Prices net cash_
+
+    _Les Prix pour la France, la Belgique et la Suisse sont à raison de
+    fr. 1.50 par shilling_
+
+
+
+
+    WORKS BY   OEUVRES PAR
+
+    =IGOR STRAVINSKY=
+
+
+  =ORCHESTRA--ORCHESTRE=
+
+                                                                 _s. d._
+
+  =Musique de "L'Histoire du Soldat"=, pièce lue, jouée et dansée, texte
+  de C. F. Ramuz
+                                                    On Hire--En location
+
+  =Suite de "L'Histoire du Soldat"=, pour petit orchestre
+                                                    On Hire--En location
+
+  =L'Oiseau de Feu=, Suite, réorchestrée pour orchestre
+  moyen--re-orchestrated for medium orchestra. Score--Partition  40   0
+
+      Parts--Parties, 50/- Extra Parts--Supplémentaires          5    0
+
+  =Marche--Valse--Polka--Galop=, tirées des recueils des pièces
+  faciles à 4 mains, pour petit orchestre
+                                                    On Hire--En location
+
+  =Chant des Bateliers sur le Volga=, pour Instruments à vent
+
+    Score and Parts--Partition et Parties                        5    0
+
+  =Ragtime=, pour petit orchestre Score--Partition               7    0
+
+     Parts on hire--Parties en location
+
+
+  =SONGS--CHANT=
+
+  =Berceuses du Chat=, Sur le Poële--Intérieur--Dodo--Ce qu'il a, le
+  Chat                                                           3    0
+
+  =4 Chants Russes=, Canard--Chanson pour compter--Le moineau est
+  assis--Chant dissident                                         3    0
+
+  =3 Histoires pour Enfants=, Tilimbom--Les canards, les cygnes les
+  oies--Chanson de l'ours                                        2    6
+
+  =Pribaoutki= (=Chansons plaisantes=), L'oncle Armand--Le Four--Le
+  Colonel--Le Vieux et le Lièvre                                 4    0
+
+  =Pastorale=, Chant sans paroles                                2    0
+
+
+  =VOCAL SCORES--PARTITIONS CHANT ET PIANO=
+
+  =Les Noces=, Divertissement--Soli, choeurs et orchestre. In the Press
+
+  =Renard=, Conte burlesque                                      15   0
+
+  =Pulcinella=, Ballet d'après la musique de Pergolesi           15   0
+
+
+  _All Prices net cash_
+
+    _Les prix pour la France, la Belgique et la Suisse sont à raison de
+    fr. 1.50 par shilling_
+
+
+
+
+MINIATURE ESSAYS
+
+
+    Essays on the following Composers, published in English and French:
+
+    Sont publiés, en français et en anglais, des essais sur les
+    compositeurs suivants:
+
+    GRANVILLE BANTOCK
+    ARNOLD BAX
+    LORD BERNERS
+    ARTHUR BLISS
+    ALFREDO CASELLA
+    L'ECOLE DES "SIX"
+    MANUEL DE FALLA
+    EUGENE GOOSSENS
+    GABRIEL GROVLEZ
+    JOHN R. HEATH
+    JOSEF HOLBROOKE
+    GUSTAV HOLST
+    D. E. INGHELBRECHT
+    JOHN IRELAND
+    JOSEPH JONGEN
+    PAUL DE MALEINGREAU
+    G. FRANCESCO MALIPIERO
+    ERKKI MELARTIN
+    SELIM PALMGREN
+    ILDEBRANDO PIZZETTI
+    POLDOWSKI
+    JEAN SIBELIUS
+    IGOR STRAVINSKY
+
+
+    _Price 6d. (fr. 0.75) each_
+
+
+    J. & W. CHESTER Ltd.
+
+    11, Great Marlborough Street, London, W.1
+
+
+
+
+Corrections
+
+
+The first line indicates the original text, the second the corrected
+text:
+
+La première ligne indique le texte original, la deuxième le texte
+corrigé:
+
+  p. 7: satisfiying study in mere contour
+        satisfying study in mere contour
+
+  p. 9: la capitale assidu au Théatre Marie
+        la capitale assidu au Théâtre Marie
+
+        bien qu'il souhaitât le voir
+        bien qu'il souhaitât le voir
+
+  p. 10: assez originales pous l'amener
+         assez originales pour l'amener
+
+  p. 11: à des conceptions littéraires, théatrales
+         à des conceptions littéraires, théâtrales
+
+  p. 13: phrase d'un instrument a l'autre
+         phrase d'un instrument à l'autre
+
+         une sorte de formation dinamique
+         une sorte de formation dynamique
+
+         s'adressant directemant
+         s'adressant directement
+
+         en musique dout ou trouve
+         en musique dont on trouve
+
+         les plus grands musicians
+         les plus grands musiciens
+
+  p. 17: Conservatoire de Musique de Geneve.
+         Conservatoire de Musique de Genève.
+
+
+Erratum
+
+    p. 6: "Four Chants Russes" and the "Three Histoires pour Enfants."
+    should be "Quatre Chants Russes" and the "Trois Histoires pour
+    Enfants."
+
+
+
+
+
+End of Project Gutenberg's Miniature essays: Igor Stravinsky, by Anonymous
+
+*** END OF THE PROJECT GUTENBERG EBOOK 40597 ***
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-Project Gutenberg's Miniature essays: Igor Stravinsky, by Anonymous
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-Title: Miniature essays: Igor Stravinsky
-
-Author: Anonymous
-
-Release Date: August 27, 2012 [EBook #40597]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK MINIATURE ESSAYS: IGOR STRAVINSKY ***
-
-
-
-
-Produced by Linda Cantoni, Eleni Christofaki, Bryan Ness
-and the Online Distributed Proofreading Team at
-http://www.pgdp.net (This file was produced from images
-generously made available by The Internet Archive/American
-Libraries.)
-
-
-
-
-
-
-
-
-
-  Transcriber's note
-
-  Note de transcription
-
-Minor punctuation inconsistencies have been silently corrected. A list
-of other corrections made can be found at the end of the book.
-
-Les incohérences de ponctuation mineures ont été corrigées. Une liste
-d'autres corrections faites se trouve à la fin du livre.
-
-
-  Mark-up: _italics_
-           =bold=
-
-  Marquage: _mots en italique_
-            =mots en gras=
-
-
-
-
-  MINIATURE ESSAYS::
-
-
-  IGOR STRAVINSKY
-
-
-  Price 6d. (fr. 0.75) Net.
-
-
-  J. & W. CHESTER LTD.
-
-  _London_:--11, Great Marlborough St., W.1 _Genève_:--9-11, Place de la
-  Fusterie.
-
-
-  _Seuls Dépositaires_
-
-  _France_:                            _Belgique_:
-  ROUART, LEROLLE & CIE,             MAISON CHESTER,
-  29, Rue d'Astorg, PARIS.       86, Rue de la Montagne, BRUXELLES.
-
-  _Holland_:                           _Italie_:
-  BROEKMANS & VAN POPPEL,            PIZZI & CIE,
-  92, Baerlestraat, AMSTERDAM.   Via Zamboni 1, BOLOGNA.
-
-
-  _Copyright, 1921 by J. & W. Chester LTD._
-
-
-  PRINTED IN ENGLAND.
-
-
-
-
-[Illustration: Photographie, Robert Regassi, Lausanne
-
-IGOR STRAVINSKY]
-
-
-
-
-IGOR STRAVINSKY
-
-
-Igor Stravinsky was born at Oranienbaum, near St. Petersburg, on June
-5th (18th), 1882. His father, an operatic singer, who won great favour
-with the public of the Russian capital at the Maryinsky Theatre, soon
-discovered remarkable musical gifts in the boy, which he did not neglect
-to develop, although he wished him to grow up to a legal career. In
-accordance with this plan, Igor Stravinsky, on having reached
-adolescence, entered the University of St. Petersburg and devoted
-himself to the study of jurisprudence, not without periodical and almost
-irresistible impulsions to abandon it for music. He had thus reached the
-age of twenty-two, when a meeting with Rimsky-Korsakov, who saw and
-appreciated the young man's astonishing talent, proved the decisive
-event of his life. Rimsky-Korsakov declared himself willing to accept
-him as a pupil.
-
-The direct outcome of Rimsky-Korsakov's tuition was, first of all, a
-Symphony, begun in 1905 and finished in 1907. This was succeeded by
-"Faun and Shepherdess," a song-cycle with orchestra, and two orchestral
-works, "Fireworks" and "Scherzo fantastique." The latter was the means
-of bringing about a meeting that was destined to direct Stravinsky's
-activities into a new channel: he made the acquaintance of Serge
-Diaghilev, who was struck by the vitality and colour of the work he had
-heard, and who induced him to set to music one of the ballets he
-proposed to produce. This was the "Firebird" (1910), which was followed
-in due course by "Petrushka" (1911) and "Le Sacre du Printemps" (1913).
-Next came an opera, begun some years earlier, "The Nightingale,"
-finished in 1914, the second and third acts of which were later
-converted into the symphonic poem, "The Song of the Nightingale" (1917).
-Stravinsky left Russia at an early stage of his career and has since
-lived alternately in Paris and on the shores of the Lake of Geneva.
-
-It is almost impossible to-day to consider the work of Igor Stravinsky
-with the detachment that is the first requisite of a judicious
-appreciation, and to avoid taking part in the violent controversy to
-which it has given rise, a controversy that is in itself a testimony to
-its vitality, for Stravinsky's music is so characteristic an expression
-of the artistic tendencies of our time that even those who most dislike
-it cannot pass it by in silence. It is perhaps hardly paradoxical to
-assert that fundamentally all the critics agree as to its significance,
-and that they differ merely in the point of view from which they regard
-it.
-
-There have been few composers whose development has been as rapid and as
-far-reaching as that of Stravinsky, and this is probably the chief
-reason why his later works so completely baffle anyone who is not
-intimately acquainted with those that precede them. For it cannot be too
-strongly emphasized that, disjointed as Stravinsky's output may appear
-to the superficial observer, it reveals a gradual and very logical
-transformation, in the course of which each work falls into its place
-and contributes something to an evolution--so often mistaken for
-revolution--which is only more difficult to follow than that of most
-other composers because it is so much more rapid. Stravinsky has
-covered, within a decade, a stretch of ground which most others would
-have taken fifty years to traverse, if indeed they would have traversed
-it at all. Small wonder that he leaves many of those who endeavour to
-follow him in a state of breathless vexation by the wayside.
-
-The development began immediately after the Symphony, Stravinsky's first
-work, and the only example of his availing himself of a classical form
-for the expression of his ideas, which were even then sufficiently
-original to force upon him the realization of the necessity of creating
-new and more elastic moulds. The next works, in fact, "Faun and
-Shepherdess," "Fireworks" and "Scherzo fantastique," already give an
-impression of far greater spontaneity and, despite the still apparent
-outside influences, especially Rimsky-Korsakov's, of greater
-individuality. Rimsky-Korsakov's sway over his pupil was, even at this
-early stage, confined to a certain picturesqueness that soon became too
-obvious for Stravinsky, and to the example of the master's glowing
-orchestration, an inheritance destined to bear compound interest in the
-pupil's hands. In the "Firebird" this influence is seen for the last
-time and in a greatly diminished degree, being now restricted to the
-characteristic national treatment of the thematic material. It may be
-remarked in passing that the national element is a secondary matter in
-Stravinsky's music, and that his personal expression always
-predominates; he is above all a _musician_, and only incidentally a
-_Russian_ musician, just as Poushkin was first and foremost a poet, who
-only by the accident of his birth happened to express himself in the
-Russian language. Yet the national idiom in Stravinsky is second only to
-his universally human expression, or we should never have had such a
-work as "Petrushka." In this ballet, still regarded as his masterpiece
-by those who are unable to follow him beyond it, he certainly reached
-full maturity and completely revealed his personality. To consider the
-music of "Petrushka," as the casual listener might be tempted to do, as
-merely descriptive, is to mistake its purpose entirely. With Stravinsky,
-as we may already see in the "Firebird," where it is narrative rather
-than illustrative, music is never subservient to anything else, even
-when it is allied to literary, histrionic or choreographic conceptions.
-It is a separate organism and always remains absolute music that makes
-its appeal to the senses rather than to the intellect. It is not
-explicative, but parallel, it is a stimulant that calls forth other
-ideas; hence the possibility of giving "Le Sacre du Printemps" two
-entirely different choreographic settings. The tendency to provide pure
-music to a scenario with which it is analogous in feeling, but from
-which it remains nevertheless independent, reaches its culmination in
-"L'Histoire du Soldat" and in "Renard." That the music of the former,
-for instance, is capable of being enjoyed separately, as music pure and
-simple, has been proved by more than one concert performance, and will
-be experienced by those who play at home the composer's own Trio
-arrangement (for piano, violin and clarinet), or the piano transcription
-of some of the principal numbers.
-
-A very remarkable feature of "L'Histoire du Soldat" is the manner in
-which Stravinsky explores the possibilities of various forms of popular
-music--not the folk-song, but the music of the fair, the ballroom, or
-the music-hall--which he converts into art-forms that are lifted out of
-their original functions. The Waltz, the Tango, the Rag, become in his
-hands much the same musical assets that the Allemande, the Courante, the
-Sarabande, became in the hands of the old masters. Other examples of
-this conversion of vulgar forms of music may be found in the "Piano Rag
-Music," in the "Ragtime" for small orchestra or piano, in the two sets
-of easy pieces for piano duet, and in the diminutive piano pieces for
-children, "Les Cinq Doigts."
-
-It is difficult to imagine that the principle of absolute music can be
-realized where it is a question of the setting of words; yet Stravinsky
-has succeeded in upholding his ideal even in such works as the
-"Berceuses du Chat," the "Pribaoutki," the "Four Chants Russes" and the
-"Three Histoires pour Enfants." This explains at once the otherwise
-perhaps inexplicable choice of words that have no literary significance.
-To set a great poet's words to music has become for Stravinsky an
-absurdity, because to him the verses themselves are already a completely
-and independently satisfying equivalent of musical emotion. His aim is
-not to write music that performs the functions of applied art, and he is
-therefore on the look-out for texts that are too insignificant or naïve
-in themselves, such as the little popular Russian verses he has chosen.
-They made their appeal to him because of their sonorous and rhythmic,
-not because of any literary quality; they are potential, foreseeing all
-sorts of possibilities which they leave to the composer to realize.
-Stravinsky is sociable and direct; he writes simply for the enjoyment of
-player and hearer alike.
-
-The one quality of Stravinsky's art that no critic has ventured to
-dispute is his consummate mastery of every instrumental resource. His
-combinations of tone-colour always hold surprises in store for us, which
-curiously enough do not seem to wear off even after repeated hearing.
-One of the secrets of the extraordinary resonance that astonishes the
-hearer is the fact that Stravinsky writes for each instrument
-individually as if he were himself a virtuoso on it; he always gives it
-exactly the kind of music to play that suits its particular character.
-He does not transfer the same phrase from one instrument to another
-unless he is sure that it is congenial to both, and he generally prefers
-to give each one something entirely different to do, something that
-invariably goes to the very root of its idiosyncrasy. This tendency
-results in a subtle blending of different rays of colour and degrees of
-light and shade, in a kind of dynamic (as distinct from harmonic) chord
-formation. In the later works, this manner of individualizing each
-instrument has become still more interesting because Stravinsky has more
-closely adapted his medium to his purpose. He distributes his chords
-among instruments of very different character instead of aiming at unity
-of colour, and he thus helps us to hear each of the simultaneously
-sounding notes as a separate value. "L'Histoire du Soldat" and the
-"Ragtime" give an impression of extraordinary plasticity; we have here a
-parallel to the three-dimensional art of the sculptor rather than to the
-deceptive perspective of the painter's canvas. But Stravinsky can at
-will abandon the three dimensions and give us a perfectly satisfying
-study in mere contour, such as we get in the three pieces for solo
-clarinet.
-
-An entirely new conception is the ballet-divertissement, "Les Noces,"
-where in addition to an orchestra from which string instruments are
-excluded, there are four solo voices and a chorus supporting the whole
-fabric of sound, sometimes alternately and sometimes in combination,
-without a single interruption throughout the whole work. The music of
-the _Noces_, like all the later works by Stravinsky, is directly and
-exclusively written to satisfy the auditive faculty of the hearer and it
-is thus a new affirmation of the reaction against the subjective
-expression in music that has so many adepts among the greatest
-composers of the nineteenth and the opening of the present century. If
-he can be compared to any older masters, he certainly has far more
-affinity with Haydn and Mozart than with any nineteenth century
-composer, and it is less surprising than those who are but superficially
-acquainted with his work might be inclined to think, that he should have
-found a very congenial task in composing on the basis of some pieces by
-Pergolesi the ballet of "Pulcinella," a task of which he acquitted
-himself with a delicacy and a reverence that none but a kindred spirit
-could have achieved.
-
-[Decoration]
-
-
-
-
-Igor Strawinsky est né à Oranienbaum, près de St. Petersbourg, 5 (18)
-Juin, 1882. Son père, un chanteur d'opéra qui jouissait d'une grande
-faveur auprès du public de la capitale assidu au Théâtre Marie,
-découvrit bientôt les remarquables dons musicaux de l'enfant et ne
-négligea point de les développer, bien qu'il souhaitât le voir
-poursuivre l'étude du droit. Conformément à cette intention, Igor
-Strawinsky entra par la suite à l'Université de St. Petersbourg et se
-consacra à l'étude de la jurisprudence, non sans de vives et presque
-irrésistibles tentations de l'abandonner pour la musique. Il avait ainsi
-atteint l'âge de vingt-deux ans quand une rencontre avec
-Rimsky-Korsakow, qui vit et apprécia l'étonnant talent du jeune homme,
-fut l'événement qui décida de sa vie. Il se déclara prêt à le prendre
-pour élève.
-
-La conséquence directe de l'enseignement de Rimsky fut, tout d'abord,
-une _Symphonie_ commencée en 1905 et achevée en 1907; et qui fut suivie
-par _Faune et Bergère_, suite de mélodies avec orchestre, et par deux
-oeuvres pour orchestre _Feu d'artifice_ et _Scherzo fantastique_. Cette
-dernière oeuvre fut l'occasion d'une rencontre qui allait engager
-l'activité de Strawinsky dans une nouvelle voie; il fit alors la
-rencontre de Serge de Diaghileff qui fut frappé de la couleur et de la
-vie de l'oeuvre qu'il venait d'entendre et qui décida le compositeur à
-mettre en musique un des ballets qu'il se proposait de monter. Ce fut
-_l'Oiseau de feu_ (1910), suivi peu après par _Petrouchka_ (1911) et _le
-Sacre du Printemps_ (1913). Puis vint un opéra, commencé plusieurs
-années auparavant, _le Rossignol_, achevé en 1914 et dont le deuxième et
-troisième acte furent ensuite convertis en poème symphonique: _le Chant
-du Rossignol_ (1917). Strawinsky avait quitté la Russie au début de sa
-carrière et a vécu depuis lors alternativement à Paris et sur les bords
-du lac de Genève.
-
-Il est presque impossible aujourd'hui de considérer l'oeuvre d'Igor
-Strawinsky avec le détachement qui est la condition d'une appréciation
-judicieuse, et d'éviter de prendre part dans la violente controverse à
-laquelle elle a donné naissance, controverse qui est par elle-même le
-témoignage de la vitalité de cette oeuvre: car la musique de Strawinsky
-est une expression si caractéristique des tendances artistiques de notre
-temps que même ceux qui la détestent le plus ne peuvent la passer sous
-silence. Il est peut-être à peine paradoxal d'affirmer que tous les
-critiques sont essentiellement d'accord sur sa signification et qu'ils
-ne diffèrent que par le point de vue d'où ils la considèrent.
-
-Peu de compositeurs ont connu un développement aussi rapide et aussi
-considérable que Strawinsky, et c'est probablement pourquoi ses
-dernières oeuvres déconcertent si complètement ceux qui ne sont pas
-familiarisés avec des oeuvres précédentes. On ne peut en effet trop
-insister sur le fait que si décousue que puisse paraître l'oeuvre de
-Strawinsky aux yeux d'un observateur superficiel, il révèle une
-évolution graduelle et parfaitement logique au cours de laquelle chaque
-oeuvre prend sa place et contribue à dessiner la courbe d'une évolution,
-(trop souvent considérée comme révolution) qu'il est seulement plus
-difficile de suivre que celle des autres compositeurs parce qu'elle est
-plus rapide. Strawinsky a parcouru en dix ans un chemin que la plupart
-des autres auraient mis cinquante ans à franchir, si même ils l'avaient
-franchi. Comment s'étonner alors qu'il laisse haletants sur le bord de
-la route bon nombre de ceux qui s'efforcent de le suivre?
-
-Ce développement commence aussitôt après la _Symphonie_, première oeuvre
-de Strawinsky, et seul exemple d'utilisation d'une forme classique qu'il
-ait donné pour exprimer ses idées, idées qui étaient dès alors assez
-originales pour l'amener à se créer des moules nouveaux et plus souples.
-Les oeuvres suivantes; _Faune et Bergère_, _Feu d'artifice_ et le
-_Scherzo fantastique_, donnent déjà la sensation d'une spontanéité
-beaucoup plus vive, et en dépit de visibles influences (spécialement
-celle de Rimsky) d'une plus grande individualité. L'empreinte de Rimsky
-sur son élève était, même à cette époque des débuts, limitée à un
-certain pittoresque qui devint bientôt trop _facile_ pour Strawinsky et
-à l'exemple de la brillante orchestration du maître, héritage qui devait
-porter des intérêts composés entre les mains de l'élève. Cette
-influence se montre pour la dernière fois et grandement atténuée dans
-l'_Oiseau de Feu_ et se réduit à l'emploi caractéristiquement national
-du matériel thématique. On peut remarquer en passant que l'élément
-national est une question secondaire dans la musique de Strawinsky, et
-que l'expression personnelle prédomine toujours; il est par dessus tout
-un _musicien_, et seulement occasionnellement un musicien _russe_,
-exactement comme Pouchkine était, d'abord et avant tout, un poète qui
-dut au seul hasard de la naissance de s'exprimer en russe. Mais chez
-Strawinsky l'idiome national ne passe qu'immédiatement après
-l'expression universellement humaine, sans quoi nous n'aurions jamais eu
-_Petrouchka_. Dans ce ballet, que considèrent encore comme son chef
-d'oeuvre ceux qui ne peuvent le suivre plus loin, il a certainement
-atteint sa pleine maturité et révèle complètement sa personnalité.
-Considérer la musique de _Petrouchka_ comme uniquement descriptive,
-ainsi que l'auditeur occasionel peut être tenté de le faire, c'est
-s'abuser entièrement. Chez Strawinsky, ainsi qu'on l'a déjà vu dans
-l'_Oiseau de Feu_, où elle est plutôt un récit qu'une illustration, la
-musique n'est jamais subordonnée à quoique ce soit d'autre, même
-lorsqu'elle se trouve alliée à des conceptions littéraires, théâtrales
-ou chorégraphiques. C'est un organisme séparé et qui demeure toujours de
-la musique absolu s'adressant aux sens bien plus qu'à l'intellect. Elle
-n'est pas explicative, mais parallèle, c'est un stimulant qui éveille
-d'autres idées; de là la possibilité de donner du _Sacre du Printemps_
-deux expressions chorégraphiques entièrement différentes. La tendance à
-attacher, à un scenario, de la musique pure qui, si analogue qu'elle
-puisse être par le sentiment, en demeure cependant indépendante, se
-montre au plus haut point dans l'_Histoire du Soldat_ et dans _Renard_.
-Que la musique de la première, par exemple, puisse être goûtée
-séparément, comme de la musique pure et simple, on en a eu la preuve par
-plus d'une exécution au concert, et on peut l'avoir aussi en jouant chez
-soi l'arrangement en Trio (piano, violon et clarinette) ou la suite pour
-piano que l'auteur a faite de quelques uns des principaux morceaux.
-
-Un caractère très remarquable de l'_Histoire du Soldat_ est la manière
-dont Strawinsky utilise les ressources des diverses formes de la musique
-populaire,--non pas la chanson populaire, mais la musique des foires,
-des salles de bal, ou du "music-hall,"--qu'il convertit en formes d'art
-éloignées de leur fonction originelle. La _Valse_, le _Tango_, le _Rag_
-deviennent entre ses mains des éléments musicaux analogues à ce que
-l'_Allemande_, la _Courante_ ou la _Sarabande_ sont devenues entre les
-mains des Maîtres anciens. D'autres exemples de cette transformation des
-formes vulgaires de la musique se voient dans le _Piano-Rag-music_, dans
-le _Ragtime_ pour petit orchestre et piano, dans les deux séries de
-pièces faciles à quatre mains, et dans les toutes petites pièces de
-piano pour enfants, _les Cinq Doigts_.
-
-Il est difficile d'imaginer que le principe de la musique absolue puisse
-être réalisé lorsqu'il est question de paroles mises en musique;
-pourtant Strawinsky a réussi à rester fidèle à son idéal, même dans des
-oeuvres telles que _Berceuses du chat_, les _Pribaoutki_, les _Quatre
-Chants russes_ et les _Trois Histoires pour enfants_. Cela explique de
-suite le choix, peut-être inexplicable autrement, de paroles qui n'ont
-aucune signification littéraire. Mettre en musique les paroles d'un
-grand poète est devenue pour Strawinsky une absurdité, parce qu'à son
-avis les vers eux-mêmes sont déjà un équivalent satisfaisant,
-complètement et en soi, de l'émotion musicale. Son but n'est pas
-d'écrire de la musique qui remplisse le rôle de l'art appliqué, aussi
-est-il toujours en quête de textes tout a fait insignifiants ou naïfs
-par eux-mêmes, tels que les petits vers populaires russes qu'il a
-choisis. Ils le satisfont par leur qualité sonore et rythmique et non
-pas par leur qualité littéraire: ils contiennent en eux toutes sortes de
-ressources qu'il appartient au compositeur de faire surgir. Strawinsky
-est sociable et direct; il écrit simplement pour la satisfaction de
-l'exécutant et de l'auditeur à la fois.
-
-Une qualité de l'art de Strawinsky qu'aucun critique ne s'est aventuré à
-discuter est sa maîtrise consommée de toutes les ressources
-instrumentales. Ses combinaisons de timbres ont toujours pour nous des
-surprises en réserve, qui assez étrangement, ne semblent pas s'user
-après des auditions répétées. L'un des secrets de l'extraordinaire
-résonnance qui étonne l'auditeur est le fait que Strawinsky écrit pour
-chaque instrument individuellement comme s'il était lui-même un
-virtuose; il lui donne toujours à jouer exactement la sorte de musique
-qui convient à son caractère particulier. Il ne transporte pas la même
-phrase d'un instrument à l'autre, à moins d'être sûr qu'elle peut
-convenir aux deux, et il préfère généralement donner à chacun d'eux
-quelque chose d'entièrement différent, quelque chose qui aille
-invariablement jusqu'aux profondeurs mêmes de son caractère particulier.
-Il en résulte un mélange subtil de rayons de couleurs différentes et de
-nuances de lumière et d'ombre, une sorte de formation dynamique des
-accords (distincte de la formation harmonique). Dans ses dernières
-oeuvres, cette façon d'individualiser chaque instrument est devenue
-encore plus intéressante parce que Strawinsky a étroitement adapté le
-moyen au but. Il distribue ses accords parmi des instruments de
-caractère différent au lieu d'avoir en vue l'unité de couleur, et il
-nous laisse ainsi entendre chacune des notes résonnantes comme une
-valeur séparée. _L'Histoire du Soldat_ et le _Ragtime_ donnent une
-impression d'extraordinaire plasticité: on a ici un parallèle à l'art à
-trois dimensions du sculpteur, plutôt qu'à l'illusoire perspective de la
-toile du peintre. Mais Strawinsky peut aussi abandonner les trois
-dimensions et nous donner une étude de simple contour, parfaitement
-satisfaisante, telle qu'on la trouve dans les _Trois pièces pour
-clarinette seule_.
-
-Une conception tout-à-fait neuve est le ballet-divertissement: _Les
-Noces_ où en plus d'un orchestre d'où la masse habituelle des cordes est
-exclue, l'on trouve quatre voix et un choeur qui supportent toute la
-sonorité, quelquefois alternativement, quelquefois combinés avec elle,
-sans une simple interruption durant tout le cours de l'oeuvre. La
-musique des _Noces_, comme du reste toutes les dernières oeuvres de
-Strawinsky, s'adressant directement et uniquement à l'ouïe de
-l'auditeur, est une nouvelle affirmation de cette réaction contre
-l'expression subjective en musique dont on trouve tant d'adeptes parmi
-les plus grands musiciens du 19e et du commencement de notre siècle.
-S'il fallait le comparer à quelque maître d'autrefois, on lui trouverait
-assurément plus d'affinité avec Haydn et Mozart qu'avec ceux-là, et il
-est moins surprenant que ceux qui ne connaissent que superficiellement
-son oeuvre pourraient le croire, de voir qu'il a trouvé une tâche qui
-lui convenait parfaitement lorsqu'il a composé sur des morceaux de
-musique de Pergolèse le ballet _Pulcinella_, tâche dont il s'est
-acquitté avec une délicatesse et un respect que seul pouvait posséder un
-esprit de la même famille.
-
-[Décoration]
-
-
-
-
-[Illustration: IGOR STRAVINSKY
-
-chansons plaisantes
-
-pour une voix et huit instruments
-
-j. & W. Chester Ltd Londres & Genève]
-
-
-
-
-[Music: [Russian: Zhar' Ptitza]--L'oiseau de feu]
-
-
-
-
-[Music: D'après le manuscrit original, propriété du Conservatoire de
-Musique de Genève.]
-
-
-
-
-    WORKS BY   OEUVRES PAR
-
-    =IGOR STRAVINSKY=
-
-
-  =PIANO=
-
-                                                                 _s. d._
-
-  =Les Cinq Doigts=, 8 Pièces très faciles sur 5 notes           3    0
-
-  =Piano Rag-Music=                                              3    0
-
-  =Ragtime=                                                      4    0
-
-  =Grande Suite de "L'Histoire du Soldat"=                      15    0
-
-
-  =PIANO SCORES--PARTITIONS POUR PIANO=
-
-  =Pulcinella=, Ballet d'après la musique de Pergolesi          15    0
-
-
-  =PIANO (Four Hands--Quatre Mains)=
-
-  =Trois Pièces Faciles=, Marche--Valse--Polka                   2    6
-
-  =Cinq Pièces Faciles=,
-  Andante--Española--Balalaika--Napolitana--Galop                3    6
-
-
-  =CLARINET SOLO--CLARINETTE SEULE=
-
-  =Trois Pièces pour Clarinette seule=                           3    0
-
-
-  =CHAMBER MUSIC--MUSIQUE DE CHAMBRE=
-
-  =Berceuses du Chat=, pour Contralto et 3 Clarinettes
-
-    Score--Partition 6/- Parts--Parties                          6    0
-
-  =Pribaoutki= (=Chansons plaisantes=), pour une Voix, Flûte, Hautbois,
-  Clarinette, Basson, 2 Violons, Alto et Violoncelle
-
-    Score--Partition 8/- Parts--Parties                          10   0
-
-  =Suite de "L'Histoire du Soldat"=, pour Clarinette, Violon et Piano
-                                                                 20   0
-
-
-  _All Prices net cash_
-
-    _Les Prix pour la France, la Belgique et la Suisse sont à raison de
-    fr. 1.50 par shilling_
-
-
-
-
-    WORKS BY   OEUVRES PAR
-
-    =IGOR STRAVINSKY=
-
-
-  =ORCHESTRA--ORCHESTRE=
-
-                                                                 _s. d._
-
-  =Musique de "L'Histoire du Soldat"=, pièce lue, jouée et dansée, texte
-  de C. F. Ramuz
-                                                    On Hire--En location
-
-  =Suite de "L'Histoire du Soldat"=, pour petit orchestre
-                                                    On Hire--En location
-
-  =L'Oiseau de Feu=, Suite, réorchestrée pour orchestre
-  moyen--re-orchestrated for medium orchestra. Score--Partition  40   0
-
-      Parts--Parties, 50/- Extra Parts--Supplémentaires          5    0
-
-  =Marche--Valse--Polka--Galop=, tirées des recueils des pièces
-  faciles à 4 mains, pour petit orchestre
-                                                    On Hire--En location
-
-  =Chant des Bateliers sur le Volga=, pour Instruments à vent
-
-    Score and Parts--Partition et Parties                        5    0
-
-  =Ragtime=, pour petit orchestre Score--Partition               7    0
-
-     Parts on hire--Parties en location
-
-
-  =SONGS--CHANT=
-
-  =Berceuses du Chat=, Sur le Poële--Intérieur--Dodo--Ce qu'il a, le
-  Chat                                                           3    0
-
-  =4 Chants Russes=, Canard--Chanson pour compter--Le moineau est
-  assis--Chant dissident                                         3    0
-
-  =3 Histoires pour Enfants=, Tilimbom--Les canards, les cygnes les
-  oies--Chanson de l'ours                                        2    6
-
-  =Pribaoutki= (=Chansons plaisantes=), L'oncle Armand--Le Four--Le
-  Colonel--Le Vieux et le Lièvre                                 4    0
-
-  =Pastorale=, Chant sans paroles                                2    0
-
-
-  =VOCAL SCORES--PARTITIONS CHANT ET PIANO=
-
-  =Les Noces=, Divertissement--Soli, choeurs et orchestre. In the Press
-
-  =Renard=, Conte burlesque                                      15   0
-
-  =Pulcinella=, Ballet d'après la musique de Pergolesi           15   0
-
-
-  _All Prices net cash_
-
-    _Les prix pour la France, la Belgique et la Suisse sont à raison de
-    fr. 1.50 par shilling_
-
-
-
-
-MINIATURE ESSAYS
-
-
-    Essays on the following Composers, published in English and French:
-
-    Sont publiés, en français et en anglais, des essais sur les
-    compositeurs suivants:
-
-    GRANVILLE BANTOCK
-    ARNOLD BAX
-    LORD BERNERS
-    ARTHUR BLISS
-    ALFREDO CASELLA
-    L'ECOLE DES "SIX"
-    MANUEL DE FALLA
-    EUGENE GOOSSENS
-    GABRIEL GROVLEZ
-    JOHN R. HEATH
-    JOSEF HOLBROOKE
-    GUSTAV HOLST
-    D. E. INGHELBRECHT
-    JOHN IRELAND
-    JOSEPH JONGEN
-    PAUL DE MALEINGREAU
-    G. FRANCESCO MALIPIERO
-    ERKKI MELARTIN
-    SELIM PALMGREN
-    ILDEBRANDO PIZZETTI
-    POLDOWSKI
-    JEAN SIBELIUS
-    IGOR STRAVINSKY
-
-
-    _Price 6d. (fr. 0.75) each_
-
-
-    J. & W. CHESTER Ltd.
-
-    11, Great Marlborough Street, London, W.1
-
-
-
-
-Corrections
-
-
-The first line indicates the original text, the second the corrected
-text:
-
-La première ligne indique le texte original, la deuxième le texte
-corrigé:
-
-  p. 7: satisfiying study in mere contour
-        satisfying study in mere contour
-
-  p. 9: la capitale assidu au Théatre Marie
-        la capitale assidu au Théâtre Marie
-
-        bien qu'il souhaitât le voir
-        bien qu'il souhaitât le voir
-
-  p. 10: assez originales pous l'amener
-         assez originales pour l'amener
-
-  p. 11: à des conceptions littéraires, théatrales
-         à des conceptions littéraires, théâtrales
-
-  p. 13: phrase d'un instrument a l'autre
-         phrase d'un instrument à l'autre
-
-         une sorte de formation dinamique
-         une sorte de formation dynamique
-
-         s'adressant directemant
-         s'adressant directement
-
-         en musique dout ou trouve
-         en musique dont on trouve
-
-         les plus grands musicians
-         les plus grands musiciens
-
-  p. 17: Conservatoire de Musique de Geneve.
-         Conservatoire de Musique de Genève.
-
-
-Erratum
-
-    p. 6: "Four Chants Russes" and the "Three Histoires pour Enfants."
-    should be "Quatre Chants Russes" and the "Trois Histoires pour
-    Enfants."
-
-
-
-
-
-End of Project Gutenberg's Miniature essays: Igor Stravinsky, by Anonymous
-
-*** END OF THIS PROJECT GUTENBERG EBOOK MINIATURE ESSAYS: IGOR STRAVINSKY ***
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     </style>
   </head>
 <body>
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 40597 ***</div>
 
 
-<pre>
-
-Project Gutenberg's Miniature essays: Igor Stravinsky, by Anonymous
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-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
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-Title: Miniature essays: Igor Stravinsky
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-Author: Anonymous
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-Release Date: August 27, 2012 [EBook #40597]
-
-Language: English
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-*** START OF THIS PROJECT GUTENBERG EBOOK MINIATURE ESSAYS: IGOR STRAVINSKY ***
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-</pre>
 
 <div class='tnote'>
 <h3>Transcriber's note<br />
@@ -941,376 +905,7 @@ pour Enfants." should be "Quatre Chants Russes" and the "Trois Histoires pour En
 
 
 
-<pre>
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 </body>
 </html>
diff --git a/40597.txt b/40597.txt
deleted file mode 100644
index 8daf562..0000000
--- a/40597.txt
+++ /dev/null
@@ -1,1075 +0,0 @@
-Project Gutenberg's Miniature essays: Igor Stravinsky, by Anonymous
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-Title: Miniature essays: Igor Stravinsky
-
-Author: Anonymous
-
-Release Date: August 27, 2012 [EBook #40597]
-
-Language: English
-
-Character set encoding: ASCII
-
-*** START OF THIS PROJECT GUTENBERG EBOOK MINIATURE ESSAYS: IGOR STRAVINSKY ***
-
-
-
-
-Produced by Linda Cantoni, Eleni Christofaki, Bryan Ness
-and the Online Distributed Proofreading Team at
-http://www.pgdp.net (This file was produced from images
-generously made available by The Internet Archive/American
-Libraries.)
-
-
-
-
-
-
-
-
-
-  Transcriber's note
-
-  Note de transcription
-
-Minor punctuation inconsistencies have been silently corrected. A list
-of other corrections made can be found at the end of the book.
-
-Les incoherences de ponctuation mineures ont ete corrigees. Une liste
-d'autres corrections faites se trouve a la fin du livre.
-
-
-  Mark-up: _italics_
-           =bold=
-
-  Marquage: _mots en italique_
-            =mots en gras=
-
-
-
-
-  MINIATURE ESSAYS::
-
-
-  IGOR STRAVINSKY
-
-
-  Price 6d. (fr. 0.75) Net.
-
-
-  J. & W. CHESTER LTD.
-
-  _London_:--11, Great Marlborough St., W.1 _Geneve_:--9-11, Place de la
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-
-  _Seuls Depositaires_
-
-  _France_:                            _Belgique_:
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-
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-
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-  _Copyright, 1921 by J. & W. Chester LTD._
-
-
-  PRINTED IN ENGLAND.
-
-
-
-
-[Illustration: Photographie, Robert Regassi, Lausanne
-
-IGOR STRAVINSKY]
-
-
-
-
-IGOR STRAVINSKY
-
-
-Igor Stravinsky was born at Oranienbaum, near St. Petersburg, on June
-5th (18th), 1882. His father, an operatic singer, who won great favour
-with the public of the Russian capital at the Maryinsky Theatre, soon
-discovered remarkable musical gifts in the boy, which he did not neglect
-to develop, although he wished him to grow up to a legal career. In
-accordance with this plan, Igor Stravinsky, on having reached
-adolescence, entered the University of St. Petersburg and devoted
-himself to the study of jurisprudence, not without periodical and almost
-irresistible impulsions to abandon it for music. He had thus reached the
-age of twenty-two, when a meeting with Rimsky-Korsakov, who saw and
-appreciated the young man's astonishing talent, proved the decisive
-event of his life. Rimsky-Korsakov declared himself willing to accept
-him as a pupil.
-
-The direct outcome of Rimsky-Korsakov's tuition was, first of all, a
-Symphony, begun in 1905 and finished in 1907. This was succeeded by
-"Faun and Shepherdess," a song-cycle with orchestra, and two orchestral
-works, "Fireworks" and "Scherzo fantastique." The latter was the means
-of bringing about a meeting that was destined to direct Stravinsky's
-activities into a new channel: he made the acquaintance of Serge
-Diaghilev, who was struck by the vitality and colour of the work he had
-heard, and who induced him to set to music one of the ballets he
-proposed to produce. This was the "Firebird" (1910), which was followed
-in due course by "Petrushka" (1911) and "Le Sacre du Printemps" (1913).
-Next came an opera, begun some years earlier, "The Nightingale,"
-finished in 1914, the second and third acts of which were later
-converted into the symphonic poem, "The Song of the Nightingale" (1917).
-Stravinsky left Russia at an early stage of his career and has since
-lived alternately in Paris and on the shores of the Lake of Geneva.
-
-It is almost impossible to-day to consider the work of Igor Stravinsky
-with the detachment that is the first requisite of a judicious
-appreciation, and to avoid taking part in the violent controversy to
-which it has given rise, a controversy that is in itself a testimony to
-its vitality, for Stravinsky's music is so characteristic an expression
-of the artistic tendencies of our time that even those who most dislike
-it cannot pass it by in silence. It is perhaps hardly paradoxical to
-assert that fundamentally all the critics agree as to its significance,
-and that they differ merely in the point of view from which they regard
-it.
-
-There have been few composers whose development has been as rapid and as
-far-reaching as that of Stravinsky, and this is probably the chief
-reason why his later works so completely baffle anyone who is not
-intimately acquainted with those that precede them. For it cannot be too
-strongly emphasized that, disjointed as Stravinsky's output may appear
-to the superficial observer, it reveals a gradual and very logical
-transformation, in the course of which each work falls into its place
-and contributes something to an evolution--so often mistaken for
-revolution--which is only more difficult to follow than that of most
-other composers because it is so much more rapid. Stravinsky has
-covered, within a decade, a stretch of ground which most others would
-have taken fifty years to traverse, if indeed they would have traversed
-it at all. Small wonder that he leaves many of those who endeavour to
-follow him in a state of breathless vexation by the wayside.
-
-The development began immediately after the Symphony, Stravinsky's first
-work, and the only example of his availing himself of a classical form
-for the expression of his ideas, which were even then sufficiently
-original to force upon him the realization of the necessity of creating
-new and more elastic moulds. The next works, in fact, "Faun and
-Shepherdess," "Fireworks" and "Scherzo fantastique," already give an
-impression of far greater spontaneity and, despite the still apparent
-outside influences, especially Rimsky-Korsakov's, of greater
-individuality. Rimsky-Korsakov's sway over his pupil was, even at this
-early stage, confined to a certain picturesqueness that soon became too
-obvious for Stravinsky, and to the example of the master's glowing
-orchestration, an inheritance destined to bear compound interest in the
-pupil's hands. In the "Firebird" this influence is seen for the last
-time and in a greatly diminished degree, being now restricted to the
-characteristic national treatment of the thematic material. It may be
-remarked in passing that the national element is a secondary matter in
-Stravinsky's music, and that his personal expression always
-predominates; he is above all a _musician_, and only incidentally a
-_Russian_ musician, just as Poushkin was first and foremost a poet, who
-only by the accident of his birth happened to express himself in the
-Russian language. Yet the national idiom in Stravinsky is second only to
-his universally human expression, or we should never have had such a
-work as "Petrushka." In this ballet, still regarded as his masterpiece
-by those who are unable to follow him beyond it, he certainly reached
-full maturity and completely revealed his personality. To consider the
-music of "Petrushka," as the casual listener might be tempted to do, as
-merely descriptive, is to mistake its purpose entirely. With Stravinsky,
-as we may already see in the "Firebird," where it is narrative rather
-than illustrative, music is never subservient to anything else, even
-when it is allied to literary, histrionic or choreographic conceptions.
-It is a separate organism and always remains absolute music that makes
-its appeal to the senses rather than to the intellect. It is not
-explicative, but parallel, it is a stimulant that calls forth other
-ideas; hence the possibility of giving "Le Sacre du Printemps" two
-entirely different choreographic settings. The tendency to provide pure
-music to a scenario with which it is analogous in feeling, but from
-which it remains nevertheless independent, reaches its culmination in
-"L'Histoire du Soldat" and in "Renard." That the music of the former,
-for instance, is capable of being enjoyed separately, as music pure and
-simple, has been proved by more than one concert performance, and will
-be experienced by those who play at home the composer's own Trio
-arrangement (for piano, violin and clarinet), or the piano transcription
-of some of the principal numbers.
-
-A very remarkable feature of "L'Histoire du Soldat" is the manner in
-which Stravinsky explores the possibilities of various forms of popular
-music--not the folk-song, but the music of the fair, the ballroom, or
-the music-hall--which he converts into art-forms that are lifted out of
-their original functions. The Waltz, the Tango, the Rag, become in his
-hands much the same musical assets that the Allemande, the Courante, the
-Sarabande, became in the hands of the old masters. Other examples of
-this conversion of vulgar forms of music may be found in the "Piano Rag
-Music," in the "Ragtime" for small orchestra or piano, in the two sets
-of easy pieces for piano duet, and in the diminutive piano pieces for
-children, "Les Cinq Doigts."
-
-It is difficult to imagine that the principle of absolute music can be
-realized where it is a question of the setting of words; yet Stravinsky
-has succeeded in upholding his ideal even in such works as the
-"Berceuses du Chat," the "Pribaoutki," the "Four Chants Russes" and the
-"Three Histoires pour Enfants." This explains at once the otherwise
-perhaps inexplicable choice of words that have no literary significance.
-To set a great poet's words to music has become for Stravinsky an
-absurdity, because to him the verses themselves are already a completely
-and independently satisfying equivalent of musical emotion. His aim is
-not to write music that performs the functions of applied art, and he is
-therefore on the look-out for texts that are too insignificant or naive
-in themselves, such as the little popular Russian verses he has chosen.
-They made their appeal to him because of their sonorous and rhythmic,
-not because of any literary quality; they are potential, foreseeing all
-sorts of possibilities which they leave to the composer to realize.
-Stravinsky is sociable and direct; he writes simply for the enjoyment of
-player and hearer alike.
-
-The one quality of Stravinsky's art that no critic has ventured to
-dispute is his consummate mastery of every instrumental resource. His
-combinations of tone-colour always hold surprises in store for us, which
-curiously enough do not seem to wear off even after repeated hearing.
-One of the secrets of the extraordinary resonance that astonishes the
-hearer is the fact that Stravinsky writes for each instrument
-individually as if he were himself a virtuoso on it; he always gives it
-exactly the kind of music to play that suits its particular character.
-He does not transfer the same phrase from one instrument to another
-unless he is sure that it is congenial to both, and he generally prefers
-to give each one something entirely different to do, something that
-invariably goes to the very root of its idiosyncrasy. This tendency
-results in a subtle blending of different rays of colour and degrees of
-light and shade, in a kind of dynamic (as distinct from harmonic) chord
-formation. In the later works, this manner of individualizing each
-instrument has become still more interesting because Stravinsky has more
-closely adapted his medium to his purpose. He distributes his chords
-among instruments of very different character instead of aiming at unity
-of colour, and he thus helps us to hear each of the simultaneously
-sounding notes as a separate value. "L'Histoire du Soldat" and the
-"Ragtime" give an impression of extraordinary plasticity; we have here a
-parallel to the three-dimensional art of the sculptor rather than to the
-deceptive perspective of the painter's canvas. But Stravinsky can at
-will abandon the three dimensions and give us a perfectly satisfying
-study in mere contour, such as we get in the three pieces for solo
-clarinet.
-
-An entirely new conception is the ballet-divertissement, "Les Noces,"
-where in addition to an orchestra from which string instruments are
-excluded, there are four solo voices and a chorus supporting the whole
-fabric of sound, sometimes alternately and sometimes in combination,
-without a single interruption throughout the whole work. The music of
-the _Noces_, like all the later works by Stravinsky, is directly and
-exclusively written to satisfy the auditive faculty of the hearer and it
-is thus a new affirmation of the reaction against the subjective
-expression in music that has so many adepts among the greatest
-composers of the nineteenth and the opening of the present century. If
-he can be compared to any older masters, he certainly has far more
-affinity with Haydn and Mozart than with any nineteenth century
-composer, and it is less surprising than those who are but superficially
-acquainted with his work might be inclined to think, that he should have
-found a very congenial task in composing on the basis of some pieces by
-Pergolesi the ballet of "Pulcinella," a task of which he acquitted
-himself with a delicacy and a reverence that none but a kindred spirit
-could have achieved.
-
-[Decoration]
-
-
-
-
-Igor Strawinsky est ne a Oranienbaum, pres de St. Petersbourg, 5 (18)
-Juin, 1882. Son pere, un chanteur d'opera qui jouissait d'une grande
-faveur aupres du public de la capitale assidu au Theatre Marie,
-decouvrit bientot les remarquables dons musicaux de l'enfant et ne
-negligea point de les developper, bien qu'il souhaitat le voir
-poursuivre l'etude du droit. Conformement a cette intention, Igor
-Strawinsky entra par la suite a l'Universite de St. Petersbourg et se
-consacra a l'etude de la jurisprudence, non sans de vives et presque
-irresistibles tentations de l'abandonner pour la musique. Il avait ainsi
-atteint l'age de vingt-deux ans quand une rencontre avec
-Rimsky-Korsakow, qui vit et apprecia l'etonnant talent du jeune homme,
-fut l'evenement qui decida de sa vie. Il se declara pret a le prendre
-pour eleve.
-
-La consequence directe de l'enseignement de Rimsky fut, tout d'abord,
-une _Symphonie_ commencee en 1905 et achevee en 1907; et qui fut suivie
-par _Faune et Bergere_, suite de melodies avec orchestre, et par deux
-oeuvres pour orchestre _Feu d'artifice_ et _Scherzo fantastique_. Cette
-derniere oeuvre fut l'occasion d'une rencontre qui allait engager
-l'activite de Strawinsky dans une nouvelle voie; il fit alors la
-rencontre de Serge de Diaghileff qui fut frappe de la couleur et de la
-vie de l'oeuvre qu'il venait d'entendre et qui decida le compositeur a
-mettre en musique un des ballets qu'il se proposait de monter. Ce fut
-_l'Oiseau de feu_ (1910), suivi peu apres par _Petrouchka_ (1911) et _le
-Sacre du Printemps_ (1913). Puis vint un opera, commence plusieurs
-annees auparavant, _le Rossignol_, acheve en 1914 et dont le deuxieme et
-troisieme acte furent ensuite convertis en poeme symphonique: _le Chant
-du Rossignol_ (1917). Strawinsky avait quitte la Russie au debut de sa
-carriere et a vecu depuis lors alternativement a Paris et sur les bords
-du lac de Geneve.
-
-Il est presque impossible aujourd'hui de considerer l'oeuvre d'Igor
-Strawinsky avec le detachement qui est la condition d'une appreciation
-judicieuse, et d'eviter de prendre part dans la violente controverse a
-laquelle elle a donne naissance, controverse qui est par elle-meme le
-temoignage de la vitalite de cette oeuvre: car la musique de Strawinsky
-est une expression si caracteristique des tendances artistiques de notre
-temps que meme ceux qui la detestent le plus ne peuvent la passer sous
-silence. Il est peut-etre a peine paradoxal d'affirmer que tous les
-critiques sont essentiellement d'accord sur sa signification et qu'ils
-ne different que par le point de vue d'ou ils la considerent.
-
-Peu de compositeurs ont connu un developpement aussi rapide et aussi
-considerable que Strawinsky, et c'est probablement pourquoi ses
-dernieres oeuvres deconcertent si completement ceux qui ne sont pas
-familiarises avec des oeuvres precedentes. On ne peut en effet trop
-insister sur le fait que si decousue que puisse paraitre l'oeuvre de
-Strawinsky aux yeux d'un observateur superficiel, il revele une
-evolution graduelle et parfaitement logique au cours de laquelle chaque
-oeuvre prend sa place et contribue a dessiner la courbe d'une evolution,
-(trop souvent consideree comme revolution) qu'il est seulement plus
-difficile de suivre que celle des autres compositeurs parce qu'elle est
-plus rapide. Strawinsky a parcouru en dix ans un chemin que la plupart
-des autres auraient mis cinquante ans a franchir, si meme ils l'avaient
-franchi. Comment s'etonner alors qu'il laisse haletants sur le bord de
-la route bon nombre de ceux qui s'efforcent de le suivre?
-
-Ce developpement commence aussitot apres la _Symphonie_, premiere oeuvre
-de Strawinsky, et seul exemple d'utilisation d'une forme classique qu'il
-ait donne pour exprimer ses idees, idees qui etaient des alors assez
-originales pour l'amener a se creer des moules nouveaux et plus souples.
-Les oeuvres suivantes; _Faune et Bergere_, _Feu d'artifice_ et le
-_Scherzo fantastique_, donnent deja la sensation d'une spontaneite
-beaucoup plus vive, et en depit de visibles influences (specialement
-celle de Rimsky) d'une plus grande individualite. L'empreinte de Rimsky
-sur son eleve etait, meme a cette epoque des debuts, limitee a un
-certain pittoresque qui devint bientot trop _facile_ pour Strawinsky et
-a l'exemple de la brillante orchestration du maitre, heritage qui devait
-porter des interets composes entre les mains de l'eleve. Cette
-influence se montre pour la derniere fois et grandement attenuee dans
-l'_Oiseau de Feu_ et se reduit a l'emploi caracteristiquement national
-du materiel thematique. On peut remarquer en passant que l'element
-national est une question secondaire dans la musique de Strawinsky, et
-que l'expression personnelle predomine toujours; il est par dessus tout
-un _musicien_, et seulement occasionnellement un musicien _russe_,
-exactement comme Pouchkine etait, d'abord et avant tout, un poete qui
-dut au seul hasard de la naissance de s'exprimer en russe. Mais chez
-Strawinsky l'idiome national ne passe qu'immediatement apres
-l'expression universellement humaine, sans quoi nous n'aurions jamais eu
-_Petrouchka_. Dans ce ballet, que considerent encore comme son chef
-d'oeuvre ceux qui ne peuvent le suivre plus loin, il a certainement
-atteint sa pleine maturite et revele completement sa personnalite.
-Considerer la musique de _Petrouchka_ comme uniquement descriptive,
-ainsi que l'auditeur occasionel peut etre tente de le faire, c'est
-s'abuser entierement. Chez Strawinsky, ainsi qu'on l'a deja vu dans
-l'_Oiseau de Feu_, ou elle est plutot un recit qu'une illustration, la
-musique n'est jamais subordonnee a quoique ce soit d'autre, meme
-lorsqu'elle se trouve alliee a des conceptions litteraires, theatrales
-ou choregraphiques. C'est un organisme separe et qui demeure toujours de
-la musique absolu s'adressant aux sens bien plus qu'a l'intellect. Elle
-n'est pas explicative, mais parallele, c'est un stimulant qui eveille
-d'autres idees; de la la possibilite de donner du _Sacre du Printemps_
-deux expressions choregraphiques entierement differentes. La tendance a
-attacher, a un scenario, de la musique pure qui, si analogue qu'elle
-puisse etre par le sentiment, en demeure cependant independante, se
-montre au plus haut point dans l'_Histoire du Soldat_ et dans _Renard_.
-Que la musique de la premiere, par exemple, puisse etre goutee
-separement, comme de la musique pure et simple, on en a eu la preuve par
-plus d'une execution au concert, et on peut l'avoir aussi en jouant chez
-soi l'arrangement en Trio (piano, violon et clarinette) ou la suite pour
-piano que l'auteur a faite de quelques uns des principaux morceaux.
-
-Un caractere tres remarquable de l'_Histoire du Soldat_ est la maniere
-dont Strawinsky utilise les ressources des diverses formes de la musique
-populaire,--non pas la chanson populaire, mais la musique des foires,
-des salles de bal, ou du "music-hall,"--qu'il convertit en formes d'art
-eloignees de leur fonction originelle. La _Valse_, le _Tango_, le _Rag_
-deviennent entre ses mains des elements musicaux analogues a ce que
-l'_Allemande_, la _Courante_ ou la _Sarabande_ sont devenues entre les
-mains des Maitres anciens. D'autres exemples de cette transformation des
-formes vulgaires de la musique se voient dans le _Piano-Rag-music_, dans
-le _Ragtime_ pour petit orchestre et piano, dans les deux series de
-pieces faciles a quatre mains, et dans les toutes petites pieces de
-piano pour enfants, _les Cinq Doigts_.
-
-Il est difficile d'imaginer que le principe de la musique absolue puisse
-etre realise lorsqu'il est question de paroles mises en musique;
-pourtant Strawinsky a reussi a rester fidele a son ideal, meme dans des
-oeuvres telles que _Berceuses du chat_, les _Pribaoutki_, les _Quatre
-Chants russes_ et les _Trois Histoires pour enfants_. Cela explique de
-suite le choix, peut-etre inexplicable autrement, de paroles qui n'ont
-aucune signification litteraire. Mettre en musique les paroles d'un
-grand poete est devenue pour Strawinsky une absurdite, parce qu'a son
-avis les vers eux-memes sont deja un equivalent satisfaisant,
-completement et en soi, de l'emotion musicale. Son but n'est pas
-d'ecrire de la musique qui remplisse le role de l'art applique, aussi
-est-il toujours en quete de textes tout a fait insignifiants ou naifs
-par eux-memes, tels que les petits vers populaires russes qu'il a
-choisis. Ils le satisfont par leur qualite sonore et rythmique et non
-pas par leur qualite litteraire: ils contiennent en eux toutes sortes de
-ressources qu'il appartient au compositeur de faire surgir. Strawinsky
-est sociable et direct; il ecrit simplement pour la satisfaction de
-l'executant et de l'auditeur a la fois.
-
-Une qualite de l'art de Strawinsky qu'aucun critique ne s'est aventure a
-discuter est sa maitrise consommee de toutes les ressources
-instrumentales. Ses combinaisons de timbres ont toujours pour nous des
-surprises en reserve, qui assez etrangement, ne semblent pas s'user
-apres des auditions repetees. L'un des secrets de l'extraordinaire
-resonnance qui etonne l'auditeur est le fait que Strawinsky ecrit pour
-chaque instrument individuellement comme s'il etait lui-meme un
-virtuose; il lui donne toujours a jouer exactement la sorte de musique
-qui convient a son caractere particulier. Il ne transporte pas la meme
-phrase d'un instrument a l'autre, a moins d'etre sur qu'elle peut
-convenir aux deux, et il prefere generalement donner a chacun d'eux
-quelque chose d'entierement different, quelque chose qui aille
-invariablement jusqu'aux profondeurs memes de son caractere particulier.
-Il en resulte un melange subtil de rayons de couleurs differentes et de
-nuances de lumiere et d'ombre, une sorte de formation dynamique des
-accords (distincte de la formation harmonique). Dans ses dernieres
-oeuvres, cette facon d'individualiser chaque instrument est devenue
-encore plus interessante parce que Strawinsky a etroitement adapte le
-moyen au but. Il distribue ses accords parmi des instruments de
-caractere different au lieu d'avoir en vue l'unite de couleur, et il
-nous laisse ainsi entendre chacune des notes resonnantes comme une
-valeur separee. _L'Histoire du Soldat_ et le _Ragtime_ donnent une
-impression d'extraordinaire plasticite: on a ici un parallele a l'art a
-trois dimensions du sculpteur, plutot qu'a l'illusoire perspective de la
-toile du peintre. Mais Strawinsky peut aussi abandonner les trois
-dimensions et nous donner une etude de simple contour, parfaitement
-satisfaisante, telle qu'on la trouve dans les _Trois pieces pour
-clarinette seule_.
-
-Une conception tout-a-fait neuve est le ballet-divertissement: _Les
-Noces_ ou en plus d'un orchestre d'ou la masse habituelle des cordes est
-exclue, l'on trouve quatre voix et un choeur qui supportent toute la
-sonorite, quelquefois alternativement, quelquefois combines avec elle,
-sans une simple interruption durant tout le cours de l'oeuvre. La
-musique des _Noces_, comme du reste toutes les dernieres oeuvres de
-Strawinsky, s'adressant directement et uniquement a l'ouie de
-l'auditeur, est une nouvelle affirmation de cette reaction contre
-l'expression subjective en musique dont on trouve tant d'adeptes parmi
-les plus grands musiciens du 19e et du commencement de notre siecle.
-S'il fallait le comparer a quelque maitre d'autrefois, on lui trouverait
-assurement plus d'affinite avec Haydn et Mozart qu'avec ceux-la, et il
-est moins surprenant que ceux qui ne connaissent que superficiellement
-son oeuvre pourraient le croire, de voir qu'il a trouve une tache qui
-lui convenait parfaitement lorsqu'il a compose sur des morceaux de
-musique de Pergolese le ballet _Pulcinella_, tache dont il s'est
-acquitte avec une delicatesse et un respect que seul pouvait posseder un
-esprit de la meme famille.
-
-[Decoration]
-
-
-
-
-[Illustration: IGOR STRAVINSKY
-
-chansons plaisantes
-
-pour une voix et huit instruments
-
-j. & W. Chester Ltd Londres & Geneve]
-
-
-
-
-[Music: [Russian: Zhar' Ptitza]--L'oiseau de feu]
-
-
-
-
-[Music: D'apres le manuscrit original, propriete du Conservatoire de
-Musique de Geneve.]
-
-
-
-
-    WORKS BY   OEUVRES PAR
-
-    =IGOR STRAVINSKY=
-
-
-  =PIANO=
-
-                                                                 _s. d._
-
-  =Les Cinq Doigts=, 8 Pieces tres faciles sur 5 notes           3    0
-
-  =Piano Rag-Music=                                              3    0
-
-  =Ragtime=                                                      4    0
-
-  =Grande Suite de "L'Histoire du Soldat"=                      15    0
-
-
-  =PIANO SCORES--PARTITIONS POUR PIANO=
-
-  =Pulcinella=, Ballet d'apres la musique de Pergolesi          15    0
-
-
-  =PIANO (Four Hands--Quatre Mains)=
-
-  =Trois Pieces Faciles=, Marche--Valse--Polka                   2    6
-
-  =Cinq Pieces Faciles=,
-  Andante--Espanola--Balalaika--Napolitana--Galop                3    6
-
-
-  =CLARINET SOLO--CLARINETTE SEULE=
-
-  =Trois Pieces pour Clarinette seule=                           3    0
-
-
-  =CHAMBER MUSIC--MUSIQUE DE CHAMBRE=
-
-  =Berceuses du Chat=, pour Contralto et 3 Clarinettes
-
-    Score--Partition 6/- Parts--Parties                          6    0
-
-  =Pribaoutki= (=Chansons plaisantes=), pour une Voix, Flute, Hautbois,
-  Clarinette, Basson, 2 Violons, Alto et Violoncelle
-
-    Score--Partition 8/- Parts--Parties                          10   0
-
-  =Suite de "L'Histoire du Soldat"=, pour Clarinette, Violon et Piano
-                                                                 20   0
-
-
-  _All Prices net cash_
-
-    _Les Prix pour la France, la Belgique et la Suisse sont a raison de
-    fr. 1.50 par shilling_
-
-
-
-
-    WORKS BY   OEUVRES PAR
-
-    =IGOR STRAVINSKY=
-
-
-  =ORCHESTRA--ORCHESTRE=
-
-                                                                 _s. d._
-
-  =Musique de "L'Histoire du Soldat"=, piece lue, jouee et dansee, texte
-  de C. F. Ramuz
-                                                    On Hire--En location
-
-  =Suite de "L'Histoire du Soldat"=, pour petit orchestre
-                                                    On Hire--En location
-
-  =L'Oiseau de Feu=, Suite, reorchestree pour orchestre
-  moyen--re-orchestrated for medium orchestra. Score--Partition  40   0
-
-      Parts--Parties, 50/- Extra Parts--Supplementaires          5    0
-
-  =Marche--Valse--Polka--Galop=, tirees des recueils des pieces
-  faciles a 4 mains, pour petit orchestre
-                                                    On Hire--En location
-
-  =Chant des Bateliers sur le Volga=, pour Instruments a vent
-
-    Score and Parts--Partition et Parties                        5    0
-
-  =Ragtime=, pour petit orchestre Score--Partition               7    0
-
-     Parts on hire--Parties en location
-
-
-  =SONGS--CHANT=
-
-  =Berceuses du Chat=, Sur le Poele--Interieur--Dodo--Ce qu'il a, le
-  Chat                                                           3    0
-
-  =4 Chants Russes=, Canard--Chanson pour compter--Le moineau est
-  assis--Chant dissident                                         3    0
-
-  =3 Histoires pour Enfants=, Tilimbom--Les canards, les cygnes les
-  oies--Chanson de l'ours                                        2    6
-
-  =Pribaoutki= (=Chansons plaisantes=), L'oncle Armand--Le Four--Le
-  Colonel--Le Vieux et le Lievre                                 4    0
-
-  =Pastorale=, Chant sans paroles                                2    0
-
-
-  =VOCAL SCORES--PARTITIONS CHANT ET PIANO=
-
-  =Les Noces=, Divertissement--Soli, choeurs et orchestre. In the Press
-
-  =Renard=, Conte burlesque                                      15   0
-
-  =Pulcinella=, Ballet d'apres la musique de Pergolesi           15   0
-
-
-  _All Prices net cash_
-
-    _Les prix pour la France, la Belgique et la Suisse sont a raison de
-    fr. 1.50 par shilling_
-
-
-
-
-MINIATURE ESSAYS
-
-
-    Essays on the following Composers, published in English and French:
-
-    Sont publies, en francais et en anglais, des essais sur les
-    compositeurs suivants:
-
-    GRANVILLE BANTOCK
-    ARNOLD BAX
-    LORD BERNERS
-    ARTHUR BLISS
-    ALFREDO CASELLA
-    L'ECOLE DES "SIX"
-    MANUEL DE FALLA
-    EUGENE GOOSSENS
-    GABRIEL GROVLEZ
-    JOHN R. HEATH
-    JOSEF HOLBROOKE
-    GUSTAV HOLST
-    D. E. INGHELBRECHT
-    JOHN IRELAND
-    JOSEPH JONGEN
-    PAUL DE MALEINGREAU
-    G. FRANCESCO MALIPIERO
-    ERKKI MELARTIN
-    SELIM PALMGREN
-    ILDEBRANDO PIZZETTI
-    POLDOWSKI
-    JEAN SIBELIUS
-    IGOR STRAVINSKY
-
-
-    _Price 6d. (fr. 0.75) each_
-
-
-    J. & W. CHESTER Ltd.
-
-    11, Great Marlborough Street, London, W.1
-
-
-
-
-Corrections
-
-
-The first line indicates the original text, the second the corrected
-text:
-
-La premiere ligne indique le texte original, la deuxieme le texte
-corrige:
-
-  p. 7: satisfiying study in mere contour
-        satisfying study in mere contour
-
-  p. 9: la capitale assidu au Theatre Marie
-        la capitale assidu au Theatre Marie
-
-        bien qu'il souhaitat le voir
-        bien qu'il souhaitat le voir
-
-  p. 10: assez originales pous l'amener
-         assez originales pour l'amener
-
-  p. 11: a des conceptions litteraires, theatrales
-         a des conceptions litteraires, theatrales
-
-  p. 13: phrase d'un instrument a l'autre
-         phrase d'un instrument a l'autre
-
-         une sorte de formation dinamique
-         une sorte de formation dynamique
-
-         s'adressant directemant
-         s'adressant directement
-
-         en musique dout ou trouve
-         en musique dont on trouve
-
-         les plus grands musicians
-         les plus grands musiciens
-
-  p. 17: Conservatoire de Musique de Geneve.
-         Conservatoire de Musique de Geneve.
-
-
-Erratum
-
-    p. 6: "Four Chants Russes" and the "Three Histoires pour Enfants."
-    should be "Quatre Chants Russes" and the "Trois Histoires pour
-    Enfants."
-
-
-
-
-
-End of Project Gutenberg's Miniature essays: Igor Stravinsky, by Anonymous
-
-*** END OF THIS PROJECT GUTENBERG EBOOK MINIATURE ESSAYS: IGOR STRAVINSKY ***
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