Composer Focus: Igor Stravinsky

Ahead of our performance of Stravinsky's Mass with the Holst Singers at Wednesday's CLoSer, we profile the composer, one of the most innovative of the twentieth century.

 

Stravinsky

Born on 18 June 1882, the Russian composer Igor Stravinsky spent much of his childhood in St Petersburg, where his father, Fyodor Stravinsky, was a famous bass singer at the Mariinsky Theatre. The young Stravinsky studied law for several years, before switching to study music privately with the celebrated Russian composer Rimsky-Korsakov. In 1909, he found fame with his composition The Firebird, which Sergei Diaghilev, the director of the Ballets Russes in Paris, encouraged him to transform into a full-length ballet.

In 1910, Stravinsky moved to Paris and was commissioned by Diagilev to write further ballets for the Ballets Russes. Petrushka, set in a Russian fairground, followed The Firebird. Stravinsky’s next ballet, The Rite of Spring, which premiered in Paris on 29 May 1913, received one of the most notorious reactions in the history of classical music, when it was booed and ridiculed by the audience. Fist fights and catcalls greeted the highly unconventional choreography, instrumentation and use of dissonance in the orchestra. The police were called to attempt to quell what quickly became a riot.

Some believe that the scale of the unrest was exaggerated by Dagliev and Stravinsky, who courted controversy and desired to be seen as innovators. However, The Rite of Spring undoubtedly broke new ground in composition. Its story is based on a ‘primitive,’ pagan ceremony, and it contains challenging and stirring rhythms of early pagan Russia. It was to remain Stravinsky’s most famous work, and established his reputation as a premier composer of the twentieth century.

From Paris, Stravinsky, his wife Katerina and young children moved to Switzerland, where they spent the war years, returning in 1920. In this period, Stavinsky began to experiment with the inflections, harmonies and rhythms of jazz, and later, turned to a neo-classical style with, for example, his ballet Pulcinella (1919-1920) and his choral work the Symphony of Psalms (1930).  In the 1930s, he began to develop professional relationships with key figures in American music. Following the worst couple of years of his life (beginning with the death of his eldest daughter Ludmila in 1938, the death of his mother in 1939, and, finally, the death of his wife of thirty three years, Katerina, from tuberculosis also in 1939), Stravinsky decided to move to the United States with Vera de Bosset, with whom he had been having an affair since 1921. They married in 1940.

Stravinsky became a naturalised US citizen in 1945, the third nationality he had taken in his life (after Russian and French). He socialised with a crowd of European intellectuals and artists in Los Angeles, including the British writers W. H. Auden, Christopher Isherwood, Dylan Thomas and Aldous Huxley. His Mass was also produced during this time (1944-1948) and is written with a French and Russian-sounding, neo-classical aesthetic. However, after meeting Robert Craft, the musicologist who would go on to live with him as an interpreter, chronicler, and assistant conductor for the rest of his life, he began to be more committed to the use of serial compositional techniques such as dodecaphony, the twelve-tone technique.  This generally characterises his compositions from the mid-1950s, but he was never restricted by the musical forms he chose to use, and remained a highly original and inventive composer for the rest of his life. He died in New York in 1971.

 

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Stravinsky, as drawn by Picasso

 

Listen to Stravinsky’s Mass on our Spotify playlist

Read our CLoSer FAQs for more information on the concert series.

CLoSer: Spirit of the Voice
Wednesday 29 Feb, 7.30pm
Village Underground

 

Stravinsky's Mass

The second concert in our innovative, informal series, CLoSer, will focus on the human voice with a performance by CLS and the Holst Singers of Stravinsky's Mass.

Stravinsky began work on his Mass in 1944, completing the Kyrie and Gloria towards the end of that year. Pausing to work on other projects, he returned to the Mass in 1947, finally completing all the movements in 1948. He rarely wrote non-commissioned music, so is believed by his friend Robert Craft (the American conductor and writer) to have written his Mass out of ‘spiritual necessity.’

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Although he was devoted to the religious content, Stravinsky chose to write a Roman Catholic mass, despite being a member of the Russian Orthodox Church.  His reasons for doing this were practical ones: he was committed to creating a Mass that would be performed in liturgical circumstances, and, given that he disliked the sound of unaccompanied singing, couldn’t write for the Russian Orthodox Church, which forbids any music but the human voice and bells. The Roman Catholic Church permits instrumentation on religious occasions so provided the right vehicle for Stravinsky’s small wind ensemble and four-part choir.

Despite Stravinsky’s desire that the Mass be used liturgically, it has almost always been performed in concert since its first performance at La Scala in Milan in 1948. It remains, however, deeply committed to the affirmation of faith. Although he denied that he was influenced by any particular composer or composition, Stravinsky uses a chanting style of singing that is reminiscent of monastic chant, a style that, despite his tendency to put musical stresses on unstressed words, preserves the text of the mass and connects his work to older Christian musics.

His commitment to the spiritual content is, appropriately, particularly apparent in the Credo, about which Stravinsky is quoted by Robert Craft as saying “One composes a march to facilitate marching men, so with my Credo I hope to provide an aid to the text. The Credo is the longest movement. There is much to believe.” 

 Listen to Stravinsky’s Mass on our Spotify playlist

 

CLoSer: Spirit of the Voice
Wednesday 29 Feb, 7.30pm
Village Underground

Flashback: L’Chaim

In this edition of Flashback, we look to 1998 and the launch of our L’Chaim, Living Music project, which is still going strong and celebrating ‘living music’ today.

 

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"In tandem with the commencement of Music for Children at Great Ormond Street Hospital, the Education and Community Programme also launched L’Chaim, Living Music. This is an informal concert project at the Otto Schiff Housing Association (OSHA) for Jewish refugees of Nazi persecution. Most OSHA residents are of German or Austrian origin, and their combined rich cultural heritage and love of music has been the defining factor in helping to shape the project.

 

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"Based at seven different homes and sites throughout North London, L’Chaim, Living Music will provide a three-year rotating programme of classical, Jewish, folk, religious and coffee house music... Whilst physical frailty may now prevent some of the residents attending concerts elsewhere in London, this has not hindered their support and enthusiasm for this project, and they have been integral to the planning process, programming and structure from the outset.

 

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"A long list of composers and musical interests was drawn up by the residents, many of whom are musicians themselves. After this initial meeting, it was clear that musical interests veered strongly towards the German classical tradition, but that many OSHA residents also enjoy folk, religious, light classical and jazz music. With these interests in mind, the programme for the year was drawn up...

"Soon after this, a trio of musicians were booked for the first three visits to OSHA (Erika Klemperer, violin, Danny Lyness, viola, Jo Cole, cello) and...they devised the first concert programme (including complete works by Beethoven, Kodaly and Schubert.) The first visits were a great success, reaching over 70 residents and staff and instant feedback from the residents was overwhelmingly positive."


Extract from CLScapades newsletter 1998

Conquering the Antarctic - The People : Edward Wilson

 

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Our Conquering the Antarctic tour celebrates the achievements of Captain Scott, the most well-known of the five-man party that reached the South Pole a hundred years ago in 1912. As the inspirational leader of the team, his personal qualities, courage and charisma were reflected in his journals and letters, which provide a moving picture of the expedition that endures today.

But what of the other four men Scott selected to accompany him to the Pole? They were Wilson, Bowers, Evans and Oates. Over the next four days, we profile the other members of Scott’s team, beginning today with Dr Edward Wilson.

 


Edward Wilson

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Born in Cheltenham in 1872, Edward Wilson was an artist and naturalist, who first joined Captain Scott aboard the Discovery as Assistant Surgeon and Vertebrate Zoologist to the British National Antarctic Expedition (1901-1904). In 1910 he returned to the Antarctic with Scott aboard the Terra Nova as Chief of the Scientific Staff. He was devoted to the study of Antarctic specimens and highly skilled at watercolour painting, particularly at capturing the colours, wildlife and light of the Antarctic.

‘Uncle Bill,’ as Wilson became known to the other explorers, was friendly and affectionate, and succeeded in mastering his temper thanks to a strong Christian faith. Scott selected him for the trek to the South Pole, which delighted him, and he continued his pursuit of scientific discovery even after the pole was reached, stopping with the rest of the team to collect 16kg of geological specimens.

Wilson’s is the last letter thought to have been written by any member of the polar party. Dated March 1912, the letter, written to his friend Reginald Smith, refers to his unfinished book about disease in grouse, his only regret at the time of his death. "We shall make a forlorn effort to reach the next depot but it means 22 miles and we are none of us fit to face it. I want to say how I have valued your friendship … I have no fear of death, only sorrow for my wife and for my dear people. Otherwise all is well. I should like to have seen the grouse book but it is not allowed to me. God's will be done." 

It is believed that Wilson died alongside Bowers and Scott in late March 1912. The three bodies were found in their tent by a rescue party the following November.

 

 

Conquering the Antarctic - the Scott Centenary Concert Tour

 A celebration in music, words and images

Stephen Layton, conductor
Robert Murray, tenor
Hugh Bonneville, narrator

3-8 February and 3 March 2012

 

Conquering the Antarctic - The Place

Ahead of our Conquering the Antarctic concert tour, starting next month, we're immersing ourselves in all things Antarctic. Here are some interesting facts about the most mysterious and fascinating of continents...

 

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  • The Antarctic is the world’s highest, driest, coldest and windiest continent (as well as the last to be discovered).
  • Ancient Greek geographers were the first to guess there was a large landmass around the South Pole. They named it Anti-Arkitkos (‘the opposite of the Arctic’).
  • Wind speeds of up to 351km (218 miles) per hour have been recorded.
  • In 1983, the coldest temperature ever was recorded at a freezing -89.2 degrees Celsius (-128.56 degrees Fahrenheit).
  • The distance between the UK and Antarctica is 11,000 miles (17702.784 km).
  • Ice in the middle of the continent can be up to 2500m (2 miles) thick.
  • Antarctica is more than 58 times bigger than Great Britain.
  • The pole moves with the ice at the rate of ten metres per year – each summer it has to be put back to its rightful geographical place.
  • Antarctic ice sheets store 70% of the world’s fresh water.
  • In Antarctica’s Dry Valleys, less than 6cm (2.4 in) of snow falls in a whole year.
  • Although there are no trees, more than 100 million birds nest and breed on the Antarctic.
  • Today, around 1,200 people spend the winter on Antarctica – about a third are scientists and the rest are support staff.
  • On average, ice sheets are nearly 2.5km (1.5 miles) thick – that’s the same as ten Canary Wharf towers on top of each other.
  • Thanks to high levels of oxygen in the water, sea spiders grow up to 30cm (12 in) across!

Conquering the Antarctic - the Scott Centenary Concert Tour

A celebration in music, words and images

Stephen Layton, conductor
Robert Murray, tenor
Hugh Bonneville, narrator

3-8 February and 3 March 2012

Festive Playlist

With Christmas approaching, our thoughts have turned to festive music! We know how much you love our playlists, so we’ve put together a good mix of our favourite seasonal tunes from all across the genres. Guaranteed to put you in a festive mood!

Is there any essential listening we’ve missed?

Listen to the Spotify playlist here


Angels We Have Heard on High - traditional 

White Christmas - Bing Crosby 

In the Bleak Midwinter - Darke 

The Christmas Song - Nat King Cole

Away in a Manger - traditional 

Let it Snow! - Sammy Cahn and Jule Styne 

O Holy Night - Adam 

It’s Beginning to Look a Lot Like Christmas  - Bing Crosby 

A Hymn to the Virgin - Britten 

Once in Royal David’s City - traditional 

Christmas (Baby Please Come Home) - Darlene Love 

The Holly and the Ivy - traditional 

Fairytale of New York - The Pogues 

Walking in the Air - Howard Blake 

Hanukkah, O Hanukkah - Barenaked Ladies

Coventry Carol - traditional

Baby it’s Cold Outside - Frank Loesser

Ceremony of Carols: This Little Babe - Britten

Christmas Time - The Darkness

Silent Night - traditional

Fantasia on Christmas Carols - Vaughan Williams

Ding Dong Merrily On High - Radcliffe Woodward

Only One More Sleep - The Muppets

 

HAPPY CHRISTMAS FROM ALL AT CITY OF LONDON SINFONIA

Who was Captain Scott?

We asked our newest Marketing recruit, Alice, to help us discover who Captain Scott really was ahead of our Conquering the Antarctic concert tour in February.

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Now remembered as a ‘race to the Pole,’ the tale of Captain Scott’s ill-fated expedition to the Antarctic from 1910-1912 has acquired the dimensions of a myth. But we are able to discover a good deal about what really happened on the expedition from Scott’s diaries, which give a vivid and moving depiction of the challenges the hard-working team faced.

Who was this man, whose personal qualities were so central to the expedition, and whose diaries, discovered by a rescue mission three months after his death, continue to provide a moving and emotive demonstration of his resolve and dignity in such unthinkable circumstances? What drove him to undertake this monumental challenge?

Born in 1868, Robert Falcon Scott joined a Royal Navy training ship at the age of thirteen. From 1900 to 1904, he commanded a British trip to the Antarctic, and from 1907-1909, Scott’s erstwhile companion Shackleton led a further British Antarctic Expedition to the Antarctic, locating the South Pole high on the ice plateau. Scott planned to finish what Shackleton had begun, and a further privately-funded expedition was raised which led to the purchase of the expedition ship, the Terra Nova, for £12,500.

Although he declared that the "main object of the expedition is to reach the South Pole and secure for the British Empire the honour of that achievement," Scott also had geological, biological and meteorological goals. The British team faced competition from the Norwegian explorer Roald Amundsen, who had abandoned earlier attempts to reach the North Pole in favour of being the first to get to the South. Despite this element of competition, Scott’s diaries reveal that he refused to abandon the pursuit of science, however difficult and unrelenting the freezing conditions.

When they reached the Pole in January 1912, the malnourished and frostbitten explorers found that the Norwegian team had got there first. Some believe that tragedy would have been prevented if the British team had ‘won’—they would have been in better spirits. As it was, they all met their deaths soon after. As Scott wrote in his journal, “These rough notes and our dead bodies must tell the tale.”


To read the full version of this blog post, visit our website
Image courtesy of SPRI, University of Cambridge


Conquering the Antarctic
2-8 Feb & 3 March 2012
Birmingham, Cambridge, Cardiff, Cheltenham, London