The Rake's Progress and Stravinsky's Return: The Composer's Evolving Approach to Setting Text
Stravinsky has a deserved reputation for manipulating the sound of words, which, among other factors, has given rise to accusations of “antihumanism” against the composer and his music. However, close analysis of the opera The Rake's Progress (1948–51) shows that Stravinsky actually takes care...
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| Veröffentlicht in: | Journal of the American Musicological Society 2010-12, Vol.63 (3), p.553-640 |
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| creator | Carter, Chandler |
| description | Stravinsky has a deserved reputation for manipulating the sound of words, which, among other factors, has given rise to accusations of “antihumanism” against the composer and his music. However, close analysis of the opera The Rake's Progress (1948–51) shows that Stravinsky actually takes care to set the text intelligibly, and at certain moments, even expressively. By analyzing metric displacement and motivic development as it evolved from the composer's earlier neoclassical settings—including Oedipus Rex (1927), the Symphony of Psalms (1930), and Perséphone (1934)—through his first efforts at serial composition in the Cantata (1952), this article contextualizes the seemingly anomalous expressiveness in The Rake's Progress. Discovery of this evolution in his approach to setting text also entails a reassessment of the composer's aesthetic concerns. |
| doi_str_mv | 10.1525/jams.2010.63.3.553 |
| format | Article |
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| ispartof | Journal of the American Musicological Society, 2010-12, Vol.63 (3), p.553-640 |
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| subjects | Composers Compositional styles Compositional Techniques Criticism and interpretation Metric Displacement Motivic Relationships Music Musical Aesthetics Musical Analysis Musical Expressiveness Musical Settings Musicology Neoclassicism Opera Russian Opera Serialism Stravinsky, Igor Stravinsky, Igor (1882-1971) Stravinsky, Igor Feodorovich Works |
| title | The Rake's Progress and Stravinsky's Return: The Composer's Evolving Approach to Setting Text |
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