TITLE: Octet for Wind Instruments (1922)

COMPOSER: Igor Stravinsky (1882-1971)

BIOGRAPHICAL SKETCH

Igor Stravinsky, a native of Oranienbaum, Russia, moved from a subjective style to an objective one. Scholars classify Stravinsky's music into three major style periods. His Russia Period spans from 1882-1922. During this time, he studied with Rimsky-Korsakov and became close friends with Sergi Diagilev of the Russian Ballet Company (based in Paris), who he collaborated with regarding his three early ballets, Firebird, Petroushka and Rite of Spring. He used many Russian themes with programmatic titles during this compositional period. In 1923, while in Paris, Stravinsky began his Neoclassical Period at which time he became very concerned with form. Even the titles of these works were neoclassical. He composed the Octet, Symphony of Psalms and piano concerto during this era. Stravinsky moved to the United States in 1940 where he taught composition at the University of Southern California. In 1951, Stravinsky began his 12-Tone style period with works such as Agon (1953), an abstract ballet with twelve dances.

MOVEMENTS: Three

1. Sinfonia 3' 55"
2. Tema con Variazioni Attacca
3. Finale 10' 40"

PERFORMANCE TIME: 14' 35"

INSTRUMENTATION: 8 Instruments

• 1 Flute, 1 Clarinet, 2 Bassoons, 2 Trumpets, 2 Trombones

EDITIONS: Rental

1. Boosey and Hawkes - 200 Smith Street, Farmingdale, NY 11735

• Boosey and Hawkes Catalogue - http://www.booseyandhawkes.com/musicshop/acatalog/

COMPOSITION SKETCH AND MUSICAL CONSIDERATIONS

The following story that is told by Stravinsky is from the series of interviews published by Robert Craft. Although these stories are undoubtably described by Stravinsky, many scholars have disputed over their accuracy.

"The octet began with a dream. I found myself (in my dream state) in a small room surrounded by a small number of instrumentalists who were playing some very agreeable music. I did not recognize the music they played, and I could not recall any of it the next day, but I do remember my curiosity (in the dream) to know how many musicians played. I remember that after I had counted them to the number eight, I looked again and saw that they were playing bassoons, trombones, trumpets, a flute and a clarinet. I awoke from this little dream concert in a state of delight, and the next morning, I began to compose the Octet, a piece I had not so much as thought of the day before. The Octet was quickly composed. The first movement came first and then the waltz in the second movement. After writing the waltz, I realized that it would be a very good theme for variations. I then wrote the "ribbons of scales" variation as a prelude introduction to each of the other variations. The final variation, the fugato, is the culmination of everything I had attempted to do in the movement, and it is certainly the most interesting episode in the whole octet. The point of the fugato is that the theme is played in rotation by the instrument pairs. The third movement grew out of the fugato and was intended as a contrast to the high tension point of the whole piece. Perhaps I had Bach's Two Part Inventions in mind while composing this movement. The Octet is dedicated to Vera de Bosset."

from Conversations with Stravinsky, Volume IV

SELECTED RECORDINGS:

RELATED WEBSITES:

Stravinsky Biography - http://www.classical.net/music/comp.lst/stravnsk.html

Life and Works of Stravinsky - http://www.ozemail.com.au/~caveman/Stravinsky/

Internet Public Library Page on Stravinsky - http://www.ipl.org/exhibit/mushist/twen/stravinsky.htm