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paper 3 - Enos Krystin MUL 2010-4847 Goldblatt David Word...

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Enos, Krystin August 11, 2006 MUL 2010-4847 Goldblatt, David Word Count: 2,477 Ask a variety of people when the “golden age of music” was and you probably won’t get a unanimous vote as an answer. In fact, most people won’t even be able to tell you the name of a music period at all. However, this paper will be looking into three different music periods before coming to any conclusions as to where my vote would be cast in such a poll. But rather than looking at the period as a whole, a composer has been selected from each of the periods as a representative. From the modern period is Igor Stravinsky, from the romantic period is Franz Schubert, and from the classical period is Wolfgang Amadeus Mozart. These selections were made based on not only the composer’s talent and renown, but also on how they changed the music culture of their time and how their innovations have been able to persevere through time and continue to affect music in today’s world. Each composer shares traits in his music with other composers of his time, but there is also something unique which makes him stand out. It is the unique aspect that earns each composer the right to represent their musical period. So working backwards through time, first up will be Igor Stravinsky, followed by Franz Schubert, and finally Mozart will be explored. Igor Stravinsky was born in 1882 in Russia, and died in 1971 in New York City. He is most well known for three compositions that he wrote rather early on in his career, in his “Russian period.” These three works, which completely reinvented ballet, are 1
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L’Oiseau de feu in 1910, Petrushka in 1911, and Le sacre du printemps in 1913. Besides these major works, he was also known for almost every genre of classical forms including opera, symphonies, and piano miniatures, in addition to works for jazz band. Besides being a composer, Stravinsky was also a conductor and a writer, with his chief work being entitled Poetics of Music . Although Stravinsky was from the Modern period, he learned in an age old traditional way: from his father, who was a bass singer. In 1910, he traveled to Paris where his desire to learn and explore in not only music but also literature, art, and life helped in securing such collaborations as Pulcinella in 1920 with Pablo Picasso, the father of the cubist movement; Oedipus Rex in 1927 with Jean Cocteau, and Apollon Musagete in 1928 with George Balanchine. This would not have been possible if Stravinsky had been free lance however. In the early 1920s patronage was secured in Leopold Stokowski and also gained commissions through his operas. (Grove) Many divide Stravinsky’s career into three main periods: the early Russian period, the Neo-classical period, and the serial period. The Russian period began with three ballets. These compositions had several characteristics in common: they were scored for rather large orchestras, used Russian folk themes and motifs, and had rather imaginative scoring and instrumentation. The first of the ballets was L’Oiseau de feu , which is usually noted for introduction of sweeping orchestration.
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