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Stravinsky - L'Oiseau de feu: Danse infernale de tous les sujets de Kastchei (The Firebird: Infernal dance of all Kastchei's subjects)
Pierre Boulez & Orchestre De Paris
Stravinsky: The Rite of Spring, Part 1 'The Adoration of the Earth' (Live from Barbican)
London Symphony Orchestra & Sir Simon Rattle
Three Movements from Petrouchka: No. 1, Danse russe
Khatia Buniatishvili
Stravinsky: L´Oiseau de feu: I. Danse infernale (Arr. Agosti for Piano)
Beatrice Rana
Three Movements from Petrouchka: No. 2, Chez Petrouchka
Khatia Buniatishvili
Le sacre du printemps, Pt 1 (Version for Piano Duet): L'adoration de la terre: I. Introduction (Live from Philharmonie Berlin 2014)
Martha Argerich & Daniel Barenboim
Le sacre du printemps, Pt 1 (Version for Piano Duet): L'adoration de la terre: II. Les augures printaniers – Danses des adolescentes (Live from Philharmonie Berlin 2014)
Martha Argerich & Daniel Barenboim
Three Movements from Petrouchka: No. 3, La semaine grasse
Khatia Buniatishvili
Le sacre du printemps, Pt 1 (Version for Piano Duet): L'adoration de la terre: IV. Rondes printanières (Live from Philharmonie Berlin 2014)
Martha Argerich & Daniel Barenboim
Le sacre du printemps, Pt 1 (Version for Piano Duet): L'adoration de la terre: III. Jeu du rapt (Live from Philharmonie Berlin 2014)
Martha Argerich & Daniel Barenboim
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About Igor Stravinsky
Artist Biography
One of the most remarkable minds ever applied to music, Stravinsky was a master of masks. His ballets Petrushka (1911) and Pulcinella (1920) and the opera-oratorio Oedipus Rex (1927) all have puppets or masked characters as protagonists. A professed anti-Romantic, he insisted that music could express nothing, yet powerful feelings often stir in the background and occasionally erupt: in elemental fury in the revolutionary The Rite of Spring (1913) or in startlingly intense longing, toward the end of the ballet The Fairy’s Kiss (1928). Stravinsky was born near St. Petersburg in 1882, and his first masterpieces, beginning with the ballet The Firebird (1910), are steeped in the melodic contours and the complex pulses of Russian folk music. The stunning rhythmic innovations of The Rite of Spring have their roots in his native soil. After he left Russia permanently in 1917, settling first in Paris and Switzerland, then in the U.S., he retained the influence of Russian folk and liturgical music. This is experienced in the choral-orchestral Symphony of Psalms (1930), and even in the intensely ironic neo-classical works he produced after World War I, from the chamber composition Octet (1923) and Concerto in E-Flat Major "Dumbarton Oaks" (1938), through to his strangely moving operatic masterpiece The Rake’s Progress (1951). He continues to be an inspiring influence for composers, not only in classical music, but also in jazz, rock and pop.
Hometown
Orianenbaum, Russia
Genre
Classical
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