Igor Stravinsky Volgorde van de boeken (chronologisch)

Composed in 1910, The Firebird was the first of many successful ballets that brought Igor Stravinsky international recognition. In collaboration with Sergei Diaghilev of the Ballets Russe, Stravinsky based his score on an old Russian fairytale. It tells a musical story of a prince's kindness to a captive bird, his encounter with a bevy of princesses trapped in an enchanted garden, and his battle against an army of monsters. "You don't even have to see the stage," explained Leonard Bernstein in his Young People's Concerts, "the music tells you everything. This music does honor to the art of ballet, and to music, and to Stravinsky himself, the greatest master our century has produced." This edition is Stravinsky's own reduction for solo piano. Originally intended for Ballets Russe rehearsals, this arrangement has evolved into a popular and challenging part of the piano repertoire. It also offers an excellent way for listeners to follow this complex work and to fully appreciate its brilliance.

Autorovy přednášky pojednávají o fenoménu hudby, o jejím komponování, o hudební typologii, o proměnách ruské hudby ad.

(Music Sales America). These 142 pieces by the masters of piano literature date from the second half of the 17th century to the present day.

Von Igor Strawinskys «Trois pièces pour quatuor à cordes» erschien im Druck bisher nur die zweite Fassung von 1918 und eine aus den Jahren 1928/29 stammende Bearbeitung im Rahmen der «Quatre études für Orchester». Die auf das Jahr 1914 zurückgehende erste Fassung der Quartettstücke hingegen blieb ebenso unveröffentlicht wie eine im selben Jahr entstandene «Réduction pour piano à quatre mains». Beide werden hier erstmals zusammen mit sämtlichen bekannten Skizzen zu diesem Werk zugänglich gemacht und in sieben Essays kommentiert.

On Shrove Tuesday, the annual Shrovetide Fair in St. Petersburg features a booth labeled 'Living Theatre.' An old magician appears, playing a haunting tune on his flute, commanding three life-size puppets to dance: the beautiful Ballerina, the powerful Moor, and the limp Petrouchka. As the performance unfolds, the audience senses something deeper than mere puppetry. The dolls, though stiff and seemingly lifeless, evoke emotions that suggest they possess their own lives and passions. Stravinsky's classic ballet has captivated audiences since Vaslav Nijinsky's debut in 1911. Petrouchka, a tragicomic figure from Russian folklore, embodies the essence of a clown—ridiculous yet profoundly human. His heart-wrenching story of longing for freedom resonates with all, making him more than just a puppet. This interpretation of the tale is vividly illustrated by renowned American artist John Collier, while Vivian Werner's lyrical text invites readers of all ages to immerse themselves in one of the most compelling narratives in twentieth-century ballet.

(Music Sales America). In this authoritative new edition of Stravinsky's dramatic masterpiece, Histoire du Soldat , the publishers have sought to rationalise all the various, and sometimes conflicting, amendments made by the composer during his life time. This edition is for all who have an interest in the great musical masterpieces of the twentieth century. To be read, played and danced in two parts. Scored for clarinet, bassoon, cornet, trombone, violin, double bass and percussion.

One of the greatest of contemporary composers has here set down in delightfully personal fashion his general ideas about music and some accounts of his own experience as a composer. Every concert-goer and lover of music will take keen pleasure in his notes about the essential features of music, the process of musical composition, inspiration, musical types, and musical execution. Throughout the volume are to he found trenchant comments on such subjects as Wagnerism, the operas of Verdi, musical taste, musical snobbery, the influence of political ideas on Russian music under the Soviets, musical improvisation as opposed to musical construction, the nature of melody, and the function of the critic of music. Musical people of every sort will welcome this first presentation in English of an unusually interesting book.

Petruška, hadrový panáček, hraje v loutkovém divadle na jarmarce v Petrohradě podle záměru nehodného loutkáře úlohu šaška pro zábavu publika, ačkoli se mu líbí balerína Holubička, jež tančí s Mouřenínem. Petruškova vzpoura proti tomuto osudu končí jeho smrtí. Ale umírá jen jeho hadrové tělo a jeho duch jako symbol odporu proti zvůli a násilí žije dál.

Kniha o hudebním skladateli ruského původu, žijícím nyní trvale v USA. Vznikla z podnětu amerického dirigenta Crafta, který kladl Stravinskému otázky. Stravinský takto inspirován se zamýšlí nad dobou svého dětství a mládí v carském Rusku, nad životními a uměleckými zážitky v Paříži,Švýcarsku a USA, vzpomíná na své umělecké přátele a spolupracovníky a dává tak vznikat pozoruhodné galerii portrétů mnoha významných osobností, a to nejen skladatelů a hudebníků, ale i spisovatelů, básníků a malířů. Především se však otázky vztahují k hudbě. České vydání shrnuje látku čtyř původních svazků „Rozhovorů“ do jednotlivých tematických okruhů. Knihu doplňuje řada dokumentárních fotografií. Z angl. originálů sestavil a předml. napsal Ivan Vojtěch.

Život a názory významného skladatele. Autobiografická publikace z poloviny 30. let 20. století.