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• W4313199478 abstract "Reviewed by: Stravinsky in Context ed. by Graham Griffiths Philip Ross Bullock Griffiths, Graham (ed.). Stravinsky in Context. Composers in Context. Cambridge University Press, Cambridge and New York, 2020. xvii + 353 pp. Illustrations. Notes. Author’s recommendations (works and recordings). Recommendations for further reading and research. Index. £84.99; £24.99: $26.00 (e-book). At first glance, the very idea of a volume that seeks to set the works and legacy of Igorˊ Stravinskii in context might seem perverse. After all, Stravinskii is seen by many as the towering figure who has come to define the very terms in which we think of twentieth-century classical music, moving from pre-revolutionary Russian nationalism to interwar French neo-classicism and post-war transatlantic serialism with effortless patrician ease. Yet for some time already, that autotelic narrative has come under considerable critical pressure. The inconsistences and mystifications of the composer’s conversations with Robert Craft have been thoroughly unpicked, Richard Taruskin’s Stravinsky and the Russian Traditions (1996) has exposed his debts to his teacher, Nikolai Rimskii-Korsakov, and others, Tamara Levitz’s Modernist Mysteries (2012) has reinstated the melodrama Perséphone within its complex network of collaborative relationships (Levitz is also the editor of Stravinsky and His World, subject of the 2013 Bard Music Festival), and in In Stravinsky’s Orbit (2020), Klára Móricz has conjured up a vivid picture of the wider world of musical life in Russian émigré circles in Paris. Stravinskii’s infamous — and oft quoted — claim that ‘music is, by its very nature, essentially powerless to express anything at all’ has been replaced by an emphasis on the evolving creative milieu in which he operated, and which shaped the composition and reception of his works. In keeping with developments in the study of historical musicology more generally, Stravinskii has been comprehensively contextualized. A short review cannot do justice to the richness of the thirty-five short essays that make up Stravinsky in Context. Its six subsections — ‘Russia and Identity’, ‘Stravinsky and Europe’, ‘Partnerships and Authorship’, ‘Performance and Performers’, ‘Aesthetics and Politics’, ‘Reception and Legacy’ — give a good sense of its priorities and key themes, and its editor, Graham Griffiths, has put together an impressive cast of international experts, who, individually and collectively, interrogate the composer from a variety of cultural, linguistic and disciplinary perspectives. In some cases, contributors offer a useful conspectus [End Page 561] of their own existing — and often foundational — scholarship (John E. Bowlt on Stravinskii’s relationship with Sergei Diagilev and other members of the ‘World of Art’ movement’, Jonathan Cross on Parisian Art Deco, Valérie Dufour on Stravinskii’s ‘ghostwriters’). In other cases, authors offer deft and judicious synopses of entire scholarly fields (Ivan Moody on the question of Stravinskii’s spirituality, Alan Street on the polemics of Theodor Adorno, Erik Levi on the composer’s political chameleonism). A number of contributions propose careful studies of documentary sources (Katerina Levidou’s survey of Greek antiquity, Mai Ikehara’s discussion of japonisme, Philip Ewell’s account of Stravinskii’s reception in the Soviet Union, Nigel Simeone’s investigation of Stravinskii’s publishers), whilst others prefer a more conceptual, essayistic approach (Daniel K. L. Chua’s unpacking of Stravinskii’s evolving approach to musical meaning, and above all, Rowan Williams’s compact treatise on ‘the Russian Soul’). The clarity and authority with which its contributions have been written and edited means that Stravinsky in Context will be accessible to a wide range of readers, not least on undergraduate and graduate courses, as well as appealing to intelligent non-specialist audiences. For a book devoted to a figure whom Emily Frey describes as ‘a musical logophobe’ (p. 211), it manages to articulate the experience of hearing Stravinskii’s music with considerable sensitivity. Given Stravinskii’s fastidiousness in just about every aspect of his life and work, it is a shame that more care was not taken about questions of transliteration and referencing. The book’s emphasis on context — as well as its implied readership — most likely explains the absence of musical examples (with the possible exception of a beautifully calligraphed reproduction of ‘Akahito’ from the Three Japanese Lyrics of 1912–13..." @default.
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• W4313199478 title "Stravinsky in Context ed. by Graham Griffiths" @default.
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