July 27, 2014 1 Comment
My older brother, Ken, had a girlfriend back in grade school, named Donna. She went on to marry Ken’s best friend, and then Ken married Donna’s best friend Carolyn. Donna major in English, because she loved to read. Whenever she found an author who appealed to her, she would methodically read every one of his or her books. She worked her way through all of Hemingway, Fitzgerald, and Faulkner.
I respected her approach, but being a Gemini myself, I have been unable to follow that route either with authors or composers. I’m much too easily distracted by the latest sight, sound, taste and have spent my life, jumping from one interest to another. This is the way of the dilettante, and though it’s too late to change my ways, I wouldn’t if I could. It has served me well.
My one exception to dilettantism in the world of music, however, has been Igor Stravinsky. After I discovered Rite of Spring and Petrushka I started to check out and buy anything by Stravinsky that I could. I still listened to other composers, of course, but I always returned–and still do, by the way–to Igor’s music. It’s worth doing. Everyone knows his big ballet works, but once I heard a snippet from his opera, A Rake’s Progress, which I had never hear before, that was so lovely that it almost melted my heart.
The third piece of Stravinsky, that I devoted some time to was his probably most well-known piece,The Firebird. This was his first ballet for Diaghilev’s Ballet Russes in Paris. Since it predates Rite of Spring and Petrushka it lies closer to the Russian school out of which Stravinsky came. (He studied under Rimsky-Korsakov.) In The Firebird for example, you can hear echoes of Rimsky-Korsakov’s “Great Gate of Kiev” from Pictures at an Exhibition. At the same time, it is much more melodic, owing to the influence of Tchaikowsky. Finally, the lush and shimmering orchestration reminds me of the Impressionists, Debussy and Ravel, Stravinsky’s near immediate elders in Paris.
This piece makes me think of a quote by Stravinsky: “all great composers steal.” Now I don’t know whether I’d call this work plagiarism. Rather, I’d say he was such a genius that he had completely mastered the artistic techniques and traditions of Western music until his time. The Firebird shows his attempt to synthesize everything he knew, or at least demonstrate his mastery of them, perhaps before finding his own unique voice, which burst on the scene and turned the music world upside down with the Rite of Spring.
I find it puzzling that no one in the 20th century was able to touch him. Why did so many composers who came after him get lost in the world of 12 tone, atonality, minimalism and serialism, some of which Stravinsky himself explored, instead of standing on his shoulders? The philosopher, T.E. Hulme, of course, wrote a book on how artistic movements become more abstract when a civilization is undergoing chaos–for example Byzantine art became progressively two dimensional as the empire collapsed. And in prosperous times, Hulme noted that art became increasingly naturalistic and representative as happened in Renaissance Florence. So maybe that is what happened in 20th century music as well. As European civilization collapsed under two world wars and then the cold war’s threat of annihilation, perhaps our music represented that angst. After the Vietnam War ened and until the economic meltdown of 2008, tastes ran toward the more lush and stimulating music of the neo-romanticists like Aarvo Paart and Henryk Gorecki. Thank god. If I hear another monotonous piece by Phillip Glass, I think I’ll stick knitting needles in my ears.
The youtube video above is the Suite he composed in 1919. Below is a longer version with Stravisnky conducting. It seems to be from Japanese TV.