Overview

If, as Robert Craft remarked, ‘religious beliefs were at the core of Stravinsky’s life and work’, why have they not figured more prominently in discussions of his works? Stravinsky’s coordination of the listener with time is central to the unity of his compositional style. This ground-breaking study looks at his background in Russian Orthodoxy, at less well-known writings of Arthur Lourié and Pierre Souvtchinsky and at the Catholic philosophy of Jacques Maritain, that shed light on the crucial link between Stravinsky’s spirituality and his restoration of time in music. Recent neuroscience research supports Stravinsky’s eventual adoption of serialism as the natural and logical outcome of his spiritual and musical quest.

Full Product Details

Author:   Helen Sills
Publisher:   Brill
Imprint:   Brill
Volume:   59
Weight:   0.745kg
ISBN:  

9789004518247

ISBN 10:   900451824
Pages:   358
Publication Date:   30 June 2022
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Available To Order  
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Table of Contents

Acknowledgements List of Tables and Illustrations Notes on Previously Published Material Prologue 1 The Stravinsky Legacy?  1 ‘Time’ for a New Legacy? 2 Being and Time: A Nightingale Sings …  1 Stravinsky’s Spirituality …  2 … and Musical Inheritance  3 Temporality in Znamenny Chant  4 Resonance  5 Le Rossignol (1908–14) 3 From Now to Eternity  1 Petrushka (1911)  2 Zvezdoliki (1911)  2.1 Stravinsky and the Old Believers  2.2 Time Qualities in Zvezdoliki 4 A Russian Spring  1 Time as a Mental Construct  2 The Rite of Spring  3 Time Qualities in The Rite of Spring 5 A Japanese Spring 6 Heaven and Earth  1 The 025 Motif and Changing Time Qualities 7 New Patterns for Old  1 Cortical Patterning  2 Three Pieces for String Quartet (1914)  3 Chant Dissident (1919)  4 Pulcinella (1919–20)  5 Symphonies of Wind Instruments (1920) and Cubism  6 Symphonies of Wind Instruments (1920): Temporal Form  7 Time and Form: Jacques Maritain 8 Time for Pushkin 9 The Object Is Time  1 Mental Imaging  2 Octet (1923)  3 Oedipus Rex (1926)  4 Apollo (1928)  5 Lourié’s Understanding of Stravinsky 10 A Journey to Hyperspace  1 1st Movement  2 2nd Movement  3 3rd Movement  4 Music as a Higher Brain Function 11 Faith Matters  1 Pater Noster (1926)  2 Russian Credo (1932)  3 Ave Maria (1934)  4 Tests of Faith  5 Perséphone (1933)  6 Darker Times  7 Babel (1944)  8 Mass (1944–48)  8.1 Kyrie  8.2 Gloria  8.3 Credo  8.4 Sanctus  8.5 Agnus Dei  9 The Poetics of Stravinsky and Maritain 12 A Matter of Time 13 Stravinsky, Schoenberg and God  1 Belief in Divine Authority  2 Belief in the Hebrew God  3 Belief in Biblical Mythology  4 Belief in Catholic Culture  5 Devotion to the Word  6 Synthesis 14 New Wine  1 Cantata (1952)  2 Stravinsky, Webern and God  3 Canticum Sacrum (1955)  4 Threni (1958)  4.1 De Elegia Prima  4.2 De Elegia Tertia  4.3 De Elegia Quinta 15 Late Harvest  1 A Sermon, A Narrative and A Prayer (1961)  1.1 A Sermon  1.2 A Narrative  1.3 A Prayer  2 Two Bible Stories: The Flood (1962) and Abraham and Isaac (1963)  3 The Flood (1962)  4 Abraham and Isaac (1962–3)  5 Requiem Canticles (1966)  5.1 Prelude  5.2 Exaudi  5.3 Dies Irae  5.4 Tuba Mirum  5.5 Interlude  5.6 Rex Tremendae  5.7 Lacrimosa  5.8 Libera Me  5.9 Postlude Epilogue  Appendix 1 Victor Ivanovitch Nesmelov: The Science of Man  Appendix 2 Gisèle Brelet Bibliography Index

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Author Information

Helen Sills is an independent scholar and professional musician. She studied at The Royal College of Music and the Universities of Nottingham and Birmingham, gaining her Ph.D in the music of Stravinsky in 1992. As a member of the International Society for the Study of Time she has published several papers on music and time.

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