Igor Fëdorovič Stravinskij
Works Of Igor Stravinskij

«If, as almost always happens, the music seems to express something, this is only an illusion.» (Igor Stravinsky)

multiply the 5 stars by 22, which is the number of CDs contained in this box set, the culmination of the great Russian composer.
In this box, all the compositions conducted by Stravinsky himself are collected and recorded from 1934 to the end of the '60s, for over 26 hours of music.
I think it’s clear that I won’t dwell on describing each work in detail, but I’ll just give a brief indication of my favorites and a list of other compositions of value in my opinion.

Igor Stravinsky is not only one of the greatest composers of the 20th century but is among the greatest musicians of all time, an innovator.
Listen to a great classic, like "The Rite of Spring" ballet from 1913, it is exhilarating with its emphasized propensity to rhythm and devoid of any "sentimentalism", rich in intense and energetic passages, distinctive traits of many of the Master's pages. Made of primordial sounds, vital drives, and echoes of death. Think about how "The Rite" must have sounded to Stravinsky's contemporaries, with the sounds of romanticism in their ears. It can be said that "The Rite of Spring" is the symbolic work of 20th-century music.
Or listen, for example, to another masterpiece like "The Wedding", ballet of 1917, and how the Maestro highlights the rhythms at the expense of harmonies and timbres, with an ensemble of percussion and voices that enhance its ritual strength as well as the interplay of the 4 "pounding" pianos which lost all the colors of romanticism to weave a truly surprising rhythmical structure.
"L'Histoire du soldat" a chamber/music ballet, is another cornerstone of Stravinsky's work, but even this one must have sounded a little "strange" at the time, furthermore it contains jazzy accents, thanks to the little that Stravinsky had been able to see, from some written pages that reached Europe, we are in 1918(!).
Then it is possible to listen to the other famous ballet "The Firebird" in two versions, the first one from 1910, a composition that takes us into a fantastical and mysterious world that encompasses the Maestro's previous researches and introduces his first musical revolutions.
But the real gem is the second version (suite) revised in 1945 by the composer, which brings some variations, reducing the orchestra and also changing some instruments for the solo parts. Stravinsky considered it superior to the 1910 version and one cannot but agree with him, but even the first version remains a great work. There's also a version from 1919, but evidently, Stravinsky never recorded it.
Another notable and very famous ballet is "Petrushka" (1910) a sort of musical collage of pieces drawing from popular cultures but with percussive and dissonant sounds. Of "Petrushka," we also find the second version (suite) from 1946, one of the most evident differences is that the mysterious and slow finale of the first version, in '46 the composer replaces the ending with a fortissimo. This version is also splendid.
Then there's "Pulcinella", in two versions, ballet (1920) and suite for chamber instruments (1922). The work is centered on music by the 18th-century composer Pergolesi (and some falsely attributed to him), but the Stravinskyan imprint is so potent that it makes one think the parts written by Pergolesi are always the Master's, also thanks to the absolutely modern orchestral accents, despite the instrumentation being based on 18th-century orchestras. Stravinsky stated «the most remarkable thing about "Pulcinella" is not so much how much has been added or changed, but how little.» This is the Master's "neoclassical" period, so-called for drawing inspiration from preexisting music, but the Master's ability is to decontextualize them and make them feel under a new and different light.
In the suite, with chamber instruments, the duration is significantly reduced (almost by half) so it assumes a more concentrated aspect than the ballet, moreover the vocal parts have been removed. This version is also noteworthy.
"The Fairy's Kiss" (1928) is perhaps among the ballets the one that most recalls atmospheres typical of romanticism, partly derived from Chaykovsky's ideas, we are in the Maestro's "neoclassical" period. It remains a splendid, delightful, and nostalgic page, unfortunately little considered, by the Russian composer.
"Card Game" (1936) another ballet of the "neoclassical" period, rich in humor (another salient feature of Stravinsky's music) and full of echoes and citations from the 19th century, thus paying homage to an era and to the great composers of that period (among others, the beloved Chaykovsky, Strauss, and Rossini with his "Barber").
Another notable work is the "Symphony in Three Movements" composed between 1942 and '45, inspired by war documentaries that Stravinsky had the occasion to see. The 1st movement is rich in contrasts, a barbaric fury, while in the 2nd movement everything calms down, but in the 3rd movement, an uncontrollable force returns (a reference to "The Rite of Spring").
With the "Symphony in C" (1940) we find the Stravinskyan "neoclassicism," as always devoid of academicisms, but rather interested in a free reinterpretation of the past. Here there's a Beethovenian style present. Also, the magnificent "Symphony of Psalms" (from 1930 and reviewed in 1948) is "neoclassical," with a choir in Latin; a sort of liturgy, it opens ominously up to the last part with a "luminous" finale.
the "Concerto for Piano and Wind Instruments", presented here in the 1950 version, the first version dates back to 1924. The piano is used percussively, with the exception of the 2nd movement which has a sharp change from the first movement, definitely slower, then it resumes a more jagged rhythm in the third movement but more fluctuating than the first movement.
Very interesting is "Movements for Piano and Orchestra" (1960) from the serial period, it eliminates harmonic structures to create atonality. "Capriccio for Piano and Orchestra" from 1930 is brilliant and has Webernian accents, but here too, with percussion-like piano, it makes the work in pure Stravinsky style.
The "Violin Concerto in D Major (Basle Concerto)" (1931 ) always from the "neoclassical" period, is a tribute to Bach. The violin opening is striking, the work is rich with variations (the capriccio, the last movement is one of the composer's most famous arias), among the Master's peaks.
the "Concerto in D for string orchestra (Basle concert)" (1947) always from the "neoclassical" period but here it is more jagged, Stravinsky is looking for new solutions, that will be developed and focused later by the composer but remains a very interesting and vibrant test. Other interesting "neoclassical" compositions are the thrilling "Concerto in E-flat major (Dumbarton Oaks)" from 1938 and the "Four Norwegian Impressions" (1942) based on Norwegian folk motifs, the 2nd movement is the most intriguing for me.
The "Suite No. 1 and 2 for small orchestra" with strong folk connotations revisited with typical Stravinskyian humor. The first suite is from 1917, the second from 1921 comes from the version of "Five Easy Pieces for piano four hands". Also notable is "Four Studies for Orchestra" (1928) also a transcription for orchestra from another composition: "Three Pieces for String Quartet". The "Concertino for 12 instruments" (1952) should also be mentioned, a prelude to the Master's dodecaphonic turn.
the "Octet for Wind Instruments" (1923) is a very rigorous work without "emotions" based only on a search for sound of piano and forte, always "neoclassical" in taste.
"Symphonies for Wind Instruments" from 1920, here it is proposed in the 1947 reviewed version. Written in memory of Claude Debussy, they are a sort of sketches with a fragmentary appearance dedicated to a search of sound and timbres, but in the end, they are well blended to make the work homogeneous.
"Ragtime" already as one might guess from the title is a jazz-influenced piece from 1918, the Maestro was very fascinated by this music, so much so that in his career he will dedicate his own reading of jazz several times. The composition has a strong rhythmic drive and is a little gem.
"Tango" from 1953 (orchestral version from a transcription from the original for piano) here too we find the syncopations and irregularities of clear jazz origin, where rhythm is predominant. Splendid in its "simplicity".
Also masterly is the "Concerto for Clarinet and Jazz Band (Ebony Concerto)" (1945) throughout his career Stravinsky showed how he managed to assimilate and make all music his own, this concert is proof of it (in case it was needed), here jazz and blues are stravanskijanized (forgive the term). A piece written for the great jazz clarinetist Woody Herman (soloist of the first performance) the version here contained instead is performed by another giant of jazz clarinet, Benny Goodman.
"Piano-Rag-Music" from 1919 is another piece for solo piano that, since the title, makes it clear that we are always in the jazz area. Synoptical use of rhythm, changes of time, all to create a Stravinskyian sonority. Among other things, with this 1934 recording we can hear the Maestro at the piano.
"Concerto for Two Pianos" (1931-35) here a 1938 recording with Igor at the keyboards with his son Soulima. Furious with really overwhelming rhythmic and tonal blends. Here it is clear how new the Maestro's way of conceptualizing the piano is.
"Serenade in A" (1925) here always with Stravinsky at the piano, is a masterpiece of the "neoclassical" period.
Another "neoclassical" composition I point out is "Duo concertante for violin and piano" from 1932 always with Igor at the piano and violin Joseph Szigeti, aside from the historical value of the recording, here one can appreciate a dry Baroque-inspired lyricism. Of this work, there is a previous recording from '33 with Samuel Dushkin on violin, for whom the piece was written, perhaps more beautiful (but unfortunately not included in this box).
"Sonata for Two Pianos" (1944) moves with sublime lightness made even more evident by the dissonant moments.
Moving to the operas "The Nightingale" (1914) is Stravinsky's first theatrical opera, based on a fairy tale by Hans Christian Andersen. It excels in colorful orchestral writing and splendid solutions in sound (between voices and instruments), at times it recalls rhythmically "The Rite of Spring".
In this box set is also contained the symphonic version for orchestra conducted by Robert Craft (with Stravinsky's supervision) entitled "Le chant du rossignol" written in 1917 where one can appreciate the incisive orchestral blends.
"Mavra" (1922) is an opera buffa in one act, of the poetic "neoclassical." The homage to Russian music is evident (as well as to other folk music). An ironic parody made of contrasts between singing, inspired (also) by the "bel canto" of Italian opera, and an orchestration with eruptive and "dissonant" rhythms.
"Oedipus Rex" is an opera oratorio with singing in Latin, always from the "neoclassical" period written between 1926-27 here they are proposed in the '49 revision. Solemn and monumental.
"The Rake's Progress" composition written between 1948 and 1952, with this marvelous opera in three acts the "neoclassical" period closes. The main references Stravinsky was inspired by are: Mozart ("Così fan tutte" and "Don Giovanni"), Baroque music (both for the compositional style and for the orchestra, which refers to those of the eighteenth century) among other composers cited are Handel, Rossini, and Chaykovsky. But all of this, as the Maestro has often demonstrated, sounds extremely 20th-century. An opera as complex as it is fascinating.
In the cd of the box titled "35 Songs" there are some short compositions (all sung) I particularly note: "Two Poems of Konstantin Balmont" here in the version for chamber orchestra from '54. "Three Japanese Lyrics" from 1913, in the version with orchestra. "Tilimbom/Klabum-Klabam" from 1923. "Four Russian Folk Songs" from 1954 for female voices and four horns. "Four Songs" (1954) for voice, flute, harp, guitar, rearrangement of two pieces from "Four Russian Folk Songs" and of two from "Tilimbom/Klabum-Klabam". "Three Songs for William Shakespeare" from 1953, one of the first dodecaphonic compositions. "In memoriam Dylan Thomas" (1954) also dodecaphonic is a heartfelt tribute to the writer, who died while traveling to meet Stravinsky (the text is taken precisely from Thomas himself). The CD ends with the amusing "The Owl and the Pussycat" from 1966 for voice and piano, the Maestro's last composition.
Very interesting is the "Monumentum pro Gesualdo da Venosa ad CD annum" from 1960 which are three madrigals written precisely by Carlo Gesualdo da Venosa (a 16th-century musician), but the Maestro recomposes them for instruments with small changes and additions.
Among the sacred compositions: "Zvezdoliki" (1911-12) that is also dedicated to Claude Debussy is a "religious cantata" of great interest and at times hints at the dodecaphony that will come for the Master about 40 years later.
"Cantata" from 1952 is archaic and pre-Renaissance, whereas "Misa " (1944-48) is austere and medieval. "Ask Sacrum ad Honorem Sancti Marci Nominis" (1955) orchestral and choral piece, in homage to the city of Venice. Always of "neoclassical" taste, but with serial hints. Monolithic but at the same time with varied structure.
"Threni (id est Lamentationes Jeremiae prophetae)" (1958) crucial among the Master's compositions as it is his first and longest dodecaphonic work (even if it does not use this compositional technique "strictly"). Complex structure, in my opinion, the best among his sacred compositions.
Very interesting, always of Stravinsky's sacred compositions, are: "Credo" (1934) here proposed in the 1964 revision, "Pater Noster" (1926) here in the 1949 version, "Babel" (1944), "A sermon, a narrative and a prayer" (1961-62), "Anthem" (1962), "Introitus" (1965).
Moreover, I have to at least mention the following works in random order: "Sonata for Piano" (1925), "Pastoral" (1933 version for solo violin), "Persephone" (1934), "Ode (Elegiac Song in Three Parts for Orchestra)" (1943), "Orpheus" (1947), "Septet" (1952), "The Flood" (1962).
So I come to the last cd, which contains works conducted by faithful right-hand man Robert Craft, under Stravinsky's own supervision. "Danses concertantes" (1941-42) suite ballet for chamber orchestra is full of self-quotations. "Epitaphium" (1959) dedicated to the death of Max Egon, is a serial piece, of very short duration (little more than a minute) with dark tones, which manages to effectively convey a sense of closure. "Double Canon" (1959) for string quartet is another very short composition (also little more than a minute) with a very particular structure and sound. Also notable are "Abraham and Isaac" composed between 1962 and '63 and "Variations" (1965) in memory of Aldous Huxley.
The last piece of this beautiful box, and it couldn't be otherwise, is the mighty "Requiem Canticles" (1955-66) a dodecaphonic work that was also performed for Stravinsky's own funeral.

I close this long "blah blah" by summarizing the musical lesson of the Master: music suffices in itself.