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Stravinsky's Piano
Genesis of a Musical Language
Stravinsky's reinvention in the early 1920s
As both neoclassical composer and concert-pianist, this period is here placed at the centre of a fundamental reconsideration of his whole output - viewed from the unprecedented perspective of his relationship with the piano.
Graham Griffiths' assessment
Graham Griffiths assesses Stravinsky's musical upbringing in St Petersburg with emphasis on his education at the hands of two extraordinary teachers whom he later either ignored or denounced: Leokadiya Kashperova, for piano and Rimsky-Korsakov, for instrumentation.
The message and influence
Their message, Griffiths argues, enabled Stravinsky to formulate from that intensely Russian experience an internationalist brand of neoclassicism founded upon the premises of objectivity and craft.
Manuscripts and compositional features
Drawing directly on the composer’s manuscripts, Griffiths addresses Stravinsky’s lifelong fascination with counterpoint and with pianism’s constructive processes.
Stravinsky’s Piano
Stravinsky’s Piano presents both of these as recurring features of the compositional attitudes that Stravinsky consistently applied to his works, whether Russian, neoclassical or serial, and regardless of idiom and genre.
