With a work full of astonishing shapes, phrases and rhythms, Balanchine and Stravinsky made America ballet’s new home. Abstract: Igor Stravinsky’s last ballet, Agon () is an enigmatic entanglement of tonal, serial, and twelve-tone compositional procedures in conjunction with. By the time it was finished, some four years later, Agon had turned out unlike anything Kirstein had at one point sent Stravinsky a seventeenth-century dance .

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Sexy Trippy All Moods. JavaScript is disabled for your browser. Though completely abstract and devoid of any stage narrative, Agon the Greek word for a contest or competition clearly derives its musical design from the idea of a series of antique dances which explode into the twentieth century. The Stampa Sera of Turin gave zgon prominence to this episode.

Hans Rosbaud dirige Strawinsky, Berg, Webern. The Bransle Double is based on a different twelve-tone series, the hexachords of which are treated independently Straus— The first encompasses a more traditional music analytical investigation of the ballet, demonstrating how the various parts work together, creating this cohesive work.

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Agon (ballet) – Wikipedia

Please enable JavaScript in your browser to use the site fully. Agon, Ballet, Composers, Stravinsky, Igor.

Streams Videos All Posts. Agon is a ballet for twelve dancers, with music by Igor Stravinsky and choreography by George Balanchine. Some have contended that Stravinsky ‘s pattern aagon “threes” is broken by the inclusion of the Prelude and Interludes; however, because they themselves constitute a collection of three and serve a prefatory role for the main sections, their role in the overall scheme is clearly integral rather than anomalous.

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September Total duration: For instance, the music in the first set is reprised in the last number of the fourth, and the Interludes contain the same music as the Prelude. Igor Stravinsky’s last ballet, Agon is an enigmatic entanglement of tonal, serial, and twelve-tone compositional procedures in conjunction with French court dances, classical ballet, and musical textures reminiscent of Anton Webern.

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Composition began in December but was interrupted the next year; work was resumed in and concluded on April 27, ; the music was first performed on June 17,in Los Angeles conducted by Robert Craftwhile the first stage performance was given by the New York City Ballet on December 1,at the City Center of Music and DramaNew York White Because he interrupted work on Agon — first to compose In Memoriam Dylan Thomas and then the aforementioned Canticum Sacrum — each time he returned to the ballet, he found he had to rewrite certain parts as a result of the evolution of his style, particularly his increasing attraction to serial techniques.

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The ballet has no story, but consists of a series of dance movements in which various groups of dancers interact in pairs, trios, quartets, etc. By considering musical compositions as medium of communication, I am able to explore Agon as a social act, thus, examining the relationship between Stravinsky, Agon, and other composers’ works and the effect dtravinsky they had on Stravinsky’s compositional choices.

When Igor Stravinsky ‘s opera The Rake’s Progress premiered init was greeted in certain progressive musical circles as old-fashioned, proof that its stravinskt was out of step with the times. So, for example, as the fanfare that opens the work reappears throughout, it grows increasingly chromatic.

For other uses, see Agon disambiguation.

Agon, ballet for 12 dancers & orchestra

This was not the first composition in which Stravinsky employed serial techniques, but it was the first in which he used a twelve- tone rowintroduced in the second coda, at bar Don’t show me this message again.

In the first chapter, Artistic Interminglings: Aggon Firebird; Jeu de Cartes; Agon.

As in Canticum Sacrum, Agon commences in a diatonic and fairly accessible vein, but progresses toward atonality. AllMusic Featured Composition Noteworthy. Igor Stravinsky strravinsky Agon. At this point in his ballet, Stravinsky put it aside in order to compose the Canticum sacrum for the Venice Biennale of Earlier in the work, Stravinsky had employed a seventeen-tone row, in bars —, and evidence from the sketches sgravinsky a close relationship between these two rows Smyth, — Sony Classical Essential Classics.

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Listen to the violin solo in the sarabande, with its tortuous chromatic embellishments, or try to catch the dance rhythm in the galliard, with its astonishing reinvention of the orchestra double basses with flutes at the top, thick cello and viola chords at the bottom, and in the middle a barely audible canon at the fifth between mandoline and harp.

A Prelude and two Interludes occur between the large sections, but this does not fundamentally affect the steavinsky design because their function is caesural and compensatory White— Stravinsky laid out the ballet in a duodecimal form, with four large sections each consisting of three dances.

If importance cannot be established, the section is likely to be moved to aon article, pseudo-redirectedor removed.

Agon, ballet for 12 dancers &… | Details | AllMusic

Just when Kirstein was bombarding him with ideas that presupposed another classical project, Stravinsky was writing small vocal and instrumental works in a spikier modern style using a limited serial method distantly derived from Schoenberg and Webern.

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Le Domaine Musical, At no point does the entire orchestra play a tutti. Retrieved from ” https: For the classical Greek word, see Agon.

The site is also available in several languages. The second group is announced by a Prelude; brief Interludes precede the third straviinsky fourth groups.

The increasingly advanced nature of Stravinsky ‘s music is matched by the plotless scenario he chose for Agon, which features eight female and four male dancers.

In other projects Wikimedia Commons. Agon ‘Ballet for stravinsjy dancers’ composer. Picasso, Cubism, and Stravinsky’s Compositional Approach, I draw the parallel between Pablo Picasso’s artistic approach during his Cubist period and Stravinsky’s compositional approach, delineating three common elements between the two artists: The second entails my borrowing of Mikhail Bakhtin’s notion of dialogue as the fundamental element of steavinsky between human beings.

Orpheus; Jeu de cartes; Agon.