Stravinsky's work spanned the major part of the twentieth century and engaged with nearly all its principal compositional developments. This Companion reflects the breadth of Stravinsky's achievement and influence in essays by leading international scholars on a wide range of topics. It is divided into three parts dealing with the contexts within which Stravinsky worked (Russian, modernist and compositional), with his key compositions (Russian, neoclassical and serial), and with the reception of his ideas (through performance, analysis and criticism). The volume concludes with an interview with the leading Dutch composer Louis Andriessen and a major re-evaluation of 'Stravinsky and Us' by Richard Taruskin.
• Covers all aspects of Stravinsky's music and career at a level accessible to students • Contains essays by the leading international writers on Stravinsky • Features an exclusive interview with the renowned Dutch composer Louis Andriessen
Chronology of Stravinsky's life and career; Part I. Origins and Contexts: 1. Stravinsky's origins Rosamund Bartlett; 2. Stravinsky as modernist Christopher Butler; 3. Stravinsky in context Arnold Whittall; Part II. The Works: 4. Early Stravinsky Anthony Pople; 5. Russian Rites: Petrushka, The Rite of Spring, Les Noces Kenneth Gloag; 6. Stravinsky's neoclassicism Martha Hyde; 7. Stravinsky in the theatre Jonathan Cross; 8. Stravinsky the serialist Joseph N. Straus; Part III. Reception: 9. Stravinsky conducts Stravinsky Nicholas Cook; 10. Stravinsky as devil Max Paddison; 11. Stravinsky and the analytical traditions Craig Ayrey; 12. Stravinsky and the critics Stuart Campbell; 13. Composing with Stravinsky Louis Andriessen and Jonathan Cross; 14. Stravinsky and us Richard Taruskin.
'… well annotated and illustrated … it will provide a valuable guide for music students and scholars as well as for music lovers who have the desire and technical knowledge to engage more fully with a major phenomenon in modern music … Jonathan Cross's Companion deserves to be translated into Russian and published in the country where the heritage of one of its greatest composers seems to be still only partially appreciated.' Slavonic and East European Review