专辑英文名: Great Composers - Stravinsky
专辑中文名: 伟大作曲家之史特拉汶斯基
艺术家: Igor Stravinsky
资源格式: MP3
版本: [更新Disc 1]
发行时间: 1988年
地区: 美国
简介:
光碟数目：2 CD
压缩码率：OBR 128 Kbps
专辑介绍:
伊果·费奥多罗维奇·史特拉汶斯基（俄文：Игорь Фёдорович Стравинский，1882年6月17日－1971年4月6日），又译斯特拉温斯基，俄国作曲家，20世纪现代音乐的传奇人物，革新过三个不同的音乐流派：原始主义、新古典主义以及序列主义。被人们誉为是音乐界中的毕卡索。
对许多人而言，柴可夫斯基与三大芭蕾舞剧《天鹅湖》、《胡桃钳》、《睡美人》是不可分离的；史特拉文斯基的音乐与也与三齣芭蕾舞剧息息相关《火鸟》、《春之祭》与《彼得鲁西卡》。
史特拉文斯基是俄国二十世纪重要的作曲家，这是个聪明、思想尖锐的人。史特拉文斯基原毕业於圣彼得堡大学的法律系，1903年起跟随里姆斯基-科萨科夫学习音乐。他最早受人注意的作品中，最重要的是《幻想詼谐曲》。
史特拉文斯基早期一些最重要的作品都与贾吉列夫的俄罗斯芭蕾舞团有关，也是芭蕾舞音乐让他开始受到大眾的注意。俄罗斯芭蕾舞团在巴黎巡演时，首演史特拉文斯基的芭蕾《火鸟》、《彼得鲁西卡》、《春之祭》。史特拉文斯基的音乐，管弦乐部分有林姆斯基-高沙可夫的影子，却更侧重节奏。
1914年，史特拉文斯基因健康之故，举家迁往瑞士，等到他想要回国时，俄国却爆发革命，害怕共产党政权，全家只好留在瑞士，直到20年代初期，史特拉文斯基遂移居法国，1934年取得法国公民的身份。在瑞士期间较为重要的作品有《士兵的故事》。第二次世界大战前夕，史特拉文斯基离开欧洲前往美国，定居好莱坞。定居美国后，史特拉文斯基的音乐更加自由发展，在完成清唱剧《婚礼》后，他就再也没有写过真正俄罗斯风格的音乐了，这个阶段的重要作品有芭蕾音乐《普尔钦奈拉》与《阿波罗》，歌剧作品《浪子》，《C大调交响曲》与《三乐章交响曲》。
史特拉文斯基创作的最后阶段，同时对巴哈之前的音乐与荀伯格的音乐结构产生兴趣，在这两者影响下产生作品《圣歌》、《洪水》，最受人瞩目的作品是芭蕾舞《阿冈》。
1962年史特拉文斯基曾经回到俄国小住，但他终究无法再忍受俄国的保守风气，回到美国。1971年在纽约去世。
Igor Fyodorovich Stravinsky (Russian: Игорь Фёдорович Стравинский, tr. Igor' Fëdorovič Stravinskij) (17 June [O.S. 5 June] 1882 – 6 April 1971) was a Russian composer, pianist, and conductor.
He is widely acknowledged as one of the most important and influential composers of 20th century music.[1][2][3] He was a quintessentially cosmopolitan Russian who was named by Time magazine as one of the 100 most influential people of the century.[4] He became a naturalized US citizen in 1946. In addition to the recognition he received for his compositions, he also achieved fame as a pianist and a conductor, often at the premieres of his works.
Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and performed by Diaghilev's Ballets Russes (Russian Ballets): The Firebird (1910), Petrushka (1911/1947), and The Rite of Spring (1913). The Rite, whose premiere provoked a riot (mainly due to the poor ballet performance than the orchestral score),[citation needed] transformed the way in which subsequent composers thought about rhythmic structure, and was largely responsible for Stravinsky's enduring reputation as a musical revolutionary, pushing the boundaries of musical design.
After this first Russian phase Stravinsky turned to neoclassicism in the 1920s. The works from this period tended to make use of traditional musical forms (concerto grosso, fugue, symphony), frequently concealed a vein of intense emotion beneath a surface appearance of detachment or austerity, and often paid tribute to the music of earlier masters, for example J. S. Bach and Tchaikovsky.
In the 1950s he adopted serial procedures, using the new techniques over his last twenty years. Stravinsky's compositions of this period share traits with of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a few two- or three-note cells, and clarity of form, of instrumentation, and of utterance.
He also published a number of books throughout his career, almost always with the aid of a collaborator, sometimes uncredited. In his 1936 autobiography, Chronicles of My Life, written with the help of Walter Nouvel, Stravinsky included his infamous statement that "music is, by its very nature, essentially powerless to express anything at all."[5] With Alexis Roland-Manuel and Pierre Souvtchinsky he wrote his 1939–40 Harvard University Charles Eliot Norton Lectures, which were delivered in French and later collected under the title Poétique musicale in 1942 (translated in 1947 as Poetics of Music).[6] Several interviews in which the composer spoke to Robert Craft were published as Conversations with Igor Stravinsky.[7] They collaborated on five further volumes over the following decade.
http://en.wikipedia.org/wiki/Igor_Stravinsky
