Stravinsky Wider Listening
12 Oct 2017






Stravinsky Wider Listening

12 Oct 2017

You will have an assessment on Wednesday 18th October; 30 mark question on Stravinsky :)

In this lesson (Fri. 13th) start to plan how you can elaborate on musical points referring to context (ballet/pagan russia/folk song/ahead of its time/riots) and how you can relate these points to wider listening.

​Notes on AO3/AO4 are below.

Listen to ​as much of the wider listening as possible ​to familiarise yourselves with the music.

  -Stravinsky 30 mark question notes.docx-  - details of AO3/AO4 

Edexcel suggested wider listening:

For 1. and 2. compare the different approaches to orchestration and tonality.
For 3. compare context.

1. Messiaen's Des Canyons aux Etoiles (nos 8 & 10) (1974)

Des Canyons aux etoiles no8-V213999298.mp3

Des canyons aux etoiles no10-V213988079.mp3

2. 'The Mad Tea Party' from Unsuk Chin's opera Alice in Wonderland (2007)

3. Re-greening for large singing orchestra or orchestra and chorus (2015)

Video link with composer narration

"A Shamanic celebration of SPring rooted in 'ancient, nature-based mythology'. 

Further listening and reference (20th Century)

Among 20th-century composers most influenced by The Rite is Stravinsky's near contemporary, Edgard Varèse, who had attended the 1913 premiere. Varèse was particularly drawn to the "cruel harmonies and stimulating rhythms" of The Rite, which he employed to full effect in his concert work Amériques (1921), scored for a massive orchestra with added sound effects including a lion's roar and a wailing siren.

Aaron Copland, to whom Stravinsky was a particular inspiration in the former's student days, considered The Rite  a masterpiece that had created "the decade of the displaced accent and the polytonal chord". Copland adopted Stravinsky's technique of composing in small sections which he then shuffled and rearranged. The music of Copland's ballet Billy the Kid  comes directly from the "Spring Rounds" section of The Rite. 

Olivier Messiaen The Rite  was of special significance; he constantly analysed and expounded on the work, which gave him an enduring model for rhythmic drive and assembly of material.

Further listening and reference (other)

Make overall comparisons and conclusions, with justifications, about Stravinsky’s handling of sonority, where necessary in relation to other orchestral scores of the time. These might include Stravinsky’s own Firebird and Petroushka, scores by recent Russian composers, richly-scored music by Richard Strauss, the symphonies of Mahler, and contemporary works with less colourful orchestration such as symphonies by Sibelius.


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