Stravinskyan

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Stravinskyan - of or relating to or like or in the manner of Stravinsky

Stravinskian

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Stravinskian

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From its pounding, Stravinskyan opening, upper strings dancing so joyously, through the hieratic gestures of commanding horns, the Midsummer Marriage timbres of piano, harp and visionary solo strings, this was a confident, cogent account, Gardner attuning his orchestra perfectly to Tippett's idiosyncratic soundworld.

REVIEWS

The fourth and final version of the "Daddy" melody, for cello solo (see example 13)--and the "brick wall" to which Bunita refers--is the culmination of the piece's penultimate section, made up of a wild, terrifying heterophony that quickly thickens to a devastating climax in which a single, simpering, falling chromatic violin line--described by Bunita as "the little voice, the voice of the victim, struggling to be heard"--finds itself suddenly and starkly pitted against a series of harsh down-bow eighth-note chords, played marcato and harmonized into a kind of Stravinskyan percussive noise.

The touch of the violin, the coldness of the bell: synaesthesia, mimesis, and the unlocking of traumatic memory in Bunita Marcus's "the rugmaker" and Andra McCartney's "learning to walk"

Retaini ng such familiar strategies and devices as he unlearned the habits of his musical past enabled Stravinsky to negotiate his "second crisis" and to produce the unique yet still palpably Stravinskyan works of his late period.

STRAVINSKY'S SECOND CRISIS: READING THE EARLY SERIAL SKETCHES

Nevertheless, the path of decline traced in the `Grand choral', from near-quotation of its implied Lutheran model to what, in context, contrives to seem an incongruously Stravinskyan ostinato-like oscillation, offers clear parallels with Kielian-Gilbert's proposition, made apropos the proto-neo-Classical Concertino (1920), that `Stravinsky's [contradictions] speak in relation and in contradiction to the conventions of an implied design'.(46)

'Le Theatre Forain': historical and stylistic connections between 'Parade' and 'Histoire du soldat.'

Brown sometimes reveals a well-remembering ear, as much more did Gabriel Jackson in the filmic pastoralism of In the Mendips, French-sounding episodes interspersed with Stravinskyan interpolations.