Canon on a Russian Popular Tune

Last updated

The "Canon on a Russian Popular Tune" (or "Canon for Concert Introduction or Encore") [1] [2] is an orchestral work by Igor Stravinsky composed in 1965. It is the composer's final completed score for orchestra and was composed in the summer of 1965 during work on his Requiem Canticles . Although originally intended as a valedictory tribute to Pierre Monteux, the published score makes no mention of this. [3]

The work is an elaborate canon based on the "Coronation Scene" theme from his ballet The Firebird , which was composed 55 years earlier, and is scored for an ensemble nearly identical to the 1919 suite extracted from that ballet. [4] Lasting less than a minute and consisting of only 35 bars, the work repeats the canon twice, with a quarter note break in between. Stravinsky submitted the finished score to Boosey & Hawkes on November 8, 1965, and it was premiered by the Toronto Symphony Orchestra under the direction of Robert Craft on December 16. [2]

Notes

  1. "Canon on a Russian Popular Tune (1965)". Boosey & Hawkes . Retrieved 26 July 2020.
  2. 1 2 Walsh 2006, p. 515.
  3. Walsh 2006, p. 514.
  4. Jers 1975, p. 433.

Sources

Related Research Articles

<span class="mw-page-title-main">Igor Stravinsky</span> Russian composer (1882–1971)

Igor Fyodorovich Stravinsky was a Russian composer and conductor with French citizenship and United States citizenship. He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music.

<span class="mw-page-title-main">Virgil Thomson</span> American composer and critic (1896–1989)

Virgil Thomson was an American composer and critic. He was instrumental in the development of the "American Sound" in classical music. He has been described as a modernist, a neoromantic, a neoclassicist, and a composer of "an Olympian blend of humanity and detachment" whose "expressive voice was always carefully muted" until his late opera Lord Byron which, in contrast to all his previous work, exhibited an emotional content that rises to "moments of real passion".

<i>The Rite of Spring</i> 1913 ballet by Igor Stravinsky

The Rite of Spring is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1913 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Vaslav Nijinsky with stage designs and costumes by Nicholas Roerich. When first performed at the Théâtre des Champs-Élysées on 29 May 1913, the avant-garde nature of the music and choreography caused a sensation. Many have called the first-night reaction a "riot" or "near-riot", though this wording did not come about until reviews of later performances in 1924, over a decade later. Although designed as a work for the stage, with specific passages accompanying characters and action, the music achieved equal if not greater recognition as a concert piece and is widely considered to be one of the most influential musical works of the 20th century.

<i>The Firebird</i> 1910 ballet by Igor Stravinsky

The Firebird is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1910 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Michel Fokine, who collaborated with Alexandre Benois and others on a scenario based on the Russian fairy tales of the Firebird and the blessing and curse it possesses for its owner. It was first performed at the Opéra de Paris on 25 June 1910 and was an immediate success, catapulting Stravinsky to international fame and leading to future Diaghilev–Stravinsky collaborations including Petrushka (1911) and The Rite of Spring (1913).

<i>Petrushka</i> (ballet) 1911 ballet by Igor Stravinsky

Petrushka is a ballet by Russian composer Igor Stravinsky. It was written for the 1911 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Michel Fokine and stage designs and costumes by Alexandre Benois, who assisted Stravinsky with the libretto. The ballet premiered at the Théâtre du Châtelet on 13 June 1911 with Vaslav Nijinsky as Petrushka, Tamara Karsavina as the lead ballerina, Alexander Orlov as the Moor, and Enrico Cecchetti the charlatan.

<i>Mavra</i>

Mavra is a one-act comic opera composed by Igor Stravinsky, and one of the earliest works of Stravinsky's neo-classical period. The libretto, by Boris Kochno, is based on Alexander Pushkin's The Little House in Kolomna. Mavra is about 25 minutes long, and features two arias, a duet, and a quartet performed by its cast of four characters. The opera has been characterised as both an homage to Russian writers, and a satire of bourgeois manners and the Romeo and Juliet subgenre of romance. Philip Truman has also described the music as satirising 19th-century comic opera. The dedication on the score is to the memory of Pushkin, Glinka and Pyotr Ilyich Tchaikovsky.

<i>Tahiti Trot</i> 1927 arrangement by Dmitri Shostakovich

Tahiti Trot, Op. 16, is an arrangement for symphony orchestra by Dmitri Shostakovich of the song "Tea for Two" from the musical No, No, Nanette by Vincent Youmans. It was composed in 1927 and resulted from a bet between the composer and the score's dedicatee, Nicolai Malko.

The Concerto for Piano and Wind Instruments was written by Igor Stravinsky in Paris in 1923–24. This work was revised in 1950.

Igor Stravinsky's Concerto in D ("Basle") for string orchestra was composed in Hollywood between the beginning of 1946 and 8 August of the same year in response to a 1946 commission from Paul Sacher to celebrate the 20th anniversary of the Basler Kammerorchester , and for this reason is sometimes referred to as the "Basle" Concerto.

<i>The Flood</i> (Stravinsky) 1962 musical stage production by Igor Stravinsky

The Flood: A musical play (1962) is a short biblical drama by Igor Stravinsky on the story of Noah and the flood, originally conceived as a work for television. It contains singing, spoken dialogue, and ballet sequences. It is in Stravinsky's late, serial style.

Chant du Rossignol, as it was published in 1921, is a poème symphonique by Igor Stravinsky adapted in 1917 from his 1914 opera The Nightingale.

Wild Swans is a ballet by Meryl Tankard with score by Soviet-born Australian composer Elena Kats-Chernin.

Musical quotation is the practice of directly quoting another work in a new composition. The quotation may be from the same composer's work (self-referential), or from a different composer's work (appropriation).

<i>Threni</i> (Stravinsky) Musical composition by Stravinsky

Threni: id est Lamentationes Jeremiae Prophetae, usually referred to simply as Threni, is a musical setting by Igor Stravinsky of verses from the Book of Lamentations in the Latin of the Vulgate, for solo singers, chorus and orchestra. It is important among Stravinsky's compositions as his first and longest completely dodecaphonic work, but is not often performed. It has been described as "austere" but also as a "culminating point" in his career as an artist, "important both spiritually and stylistically" and "the most ambitious and structurally the most complex" of all his religious compositions, and even "among Stravinsky's greatest works".

Variations: Aldous Huxley in memoriam is Igor Stravinsky's last major orchestral composition, written in 1963–64.

Scherzo à la russe is a composition by Russian expatriate composer Igor Stravinsky. It was initially published by Chappell & Co. in 1945 and premiered in March 1946 by the San Francisco Symphony Orchestra, conducted by the composer himself. It was later published by Boosey & Hawkes.

Funeral Song, Op. 5, is an orchestral work by Igor Stravinsky. Composed in 1908 in memory of Nikolai Rimsky-Korsakov, the work received one performance in 1909. The work was then lost and not rediscovered until 2015.

<i>Greeting Prelude</i> 1955 orchestral work by Igor Stravinsky

The Greeting Prelude is an orchestral work composed in 1955 by Igor Stravinsky. Its origins can be traced back to an incident that occurred during a rehearsal at the inaugural Aspen Festival in 1950, when Stravinsky was displeased by a surprise rendition of "Happy Birthday to You", a song with which he was unfamiliar. The next year, at the request of Samuel Barber, he harmonized it and composed a two-part canon as a birthday present for Mary Louise Curtis. In February 1955, Charles Munch, music director of the Boston Symphony Orchestra, contacted Stravinsky with a request for a brief orchestral tribute for Pierre Monteux's 80th birthday. After initially expressing uncertainty that he could accept the commission, he composed Greeting Prelude between February 18 and 23.