Piano Sonata (1924) and Serenade in A (1925)

Having transcribed and analyzed the fascinating compositional sketches for Sonata and Serenade at the Stravinsky archive, I observed how Stravinsky’s compositional process for these two works is shown through his reliance on the classical piano repertoire. For example, a very prominent quotation fro...

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Bibliographic Details
Published inAfter the Rite
Main Author Carr, Maureen A
Format Book Chapter
LanguageEnglish
Published United States Oxford University Press 10.07.2014
Oxford University Press, Incorporated
Subjects
20th century & contemporary classical music
Roman Vlad
Serenade in A
Charles Rosen
Boris de Schloezer
Alfredo Casella
Beethoven
Chopin
Piano Sonata
Bach
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Summary:Having transcribed and analyzed the fascinating compositional sketches for Sonata and Serenade at the Stravinsky archive, I observed how Stravinsky’s compositional process for these two works is shown through his reliance on the classical piano repertoire. For example, a very prominent quotation from a Mozart Sonata is found in the sketches for Stravinsky’s Sonata in different places within the sketches. Yet, in Stravinsky’s final rendition of the Sonata, his quotation from the Mozart excerpt is rather insignificant. In the sketches for the Serenade, Stravinsky repeats a different quotation in several places. As with the Mozart fragment in the Sonata, this example does not seem to be significant in the published edition. In both cases, Stravinsky seems to be using these sources as “musical conduits.”
ISBN:9780199742936
0199742936
DOI:10.1093/acprof:oso/9780199742936.003.0008