Stravinsky in Context

Graham Griffiths is an Honorary Research Fellow at City, University of London and a member of the editorial board of the St Petersburg Conservatoire. His publications include Stravinsky's Piano: Genesis of a Musical Language (Cambridge University Press, 2013) and he is a contributor to British Post-Graduate Musicology-online (2005), Abécédaire Stravinsky (2018) and The Cambridge Stravinsky Encyclopedia (2020). He was Founder/director of the contemporary music ensemble Grupo Novo Horizonte de Sao Paulo (1989-99) and Vice-President, Sociedade Brasileira de Musicologia (1995-97). He is editor of the Kashperova Edition (Boosey & Hawkes).

• Preface; List of Contributors; List of Abbreviations; Part I. Russia and Identity: 1. Memory and truth: Stravinsky's childhood (1882-1901) Catriona Kelly; 2. Religion, life and death in St Petersburg Natalia Braginskaya; 3. Kashperova and Stravinsky: the making of a concert-pianist Graham Griffiths; 4. Reminiscences of Rimsky-Korsakov, his family and artistic circle Lidia Ader; 5. Orthodoxies and unorthodoxies: Stravinsky's spiritual journey Ivan Moody; 6. The Russian soul Rowan Williams; Part II. Stravinsky and Europe: 7. Sergei Diaghilev and Stravinsky: from world of art to ballets russes John E. Bowlt; 8. Paris and the Belle Époque Davinia Caddy; 9. Paris, Art Deco, and the spirit of Apollo Jonathan Cross; 10. Stravinsky's Spain: fan or mirror? Graham Griffiths; 11. 'It is Venice that he loves…' Mauricio Dottori; Part III. Partnerships and Authorship: 12. Stravinsky's sphere of influence: Paris and beyond Inessa Bazayev; 13. Stravinsky and his literary collaborators Maureen Carr; 14. Assuming co-authorship: Stravinsky and his 'ghost-writers' Valérie Dufour; 15. Nadia Boulanger and Stravinsky: the transition to America Kimberly Francis; 16. Conversations with Craft Anna Schmidtmann; Part IV. Performance and Performers: 17. Challenges to realism and tradition: Stravinsky's modernist theatre Massimiliano Locanto; 18. Igor Stravinsky and ballet as modernism Stephanie Jordan; 19. Stravinsky's ear for instruments Chris Dromey; 20. Towards a conductor-proof ideal Hannah Baxter; 21. The pianist in the recording studio: re-imagining interpretation Daniel Barolsky; 22. The legacy of Stravinsky as recorded history Per Dahl; Part V. Aesthetics and Politics: 23. Stravinsky versus literature Emily Frey; 24. Stravinsky and Greek antiquity Katerina Levidou; 25. Stravinsky's response to 'Japonisme' Mai Ikehara; 26. Stravinsky, modernism and mass culture Ross Cole; 27. Perspectives on Schoenberg and Stravinsky: Adorno and others Alan Street; 28. Stravinsky's 'problematical' political orientation during the 1920s and 1930s Erik Levi; Part VI. Reception and Legacy: 29. The Apollonian clockwork re-wound Elmer Schönberger; 30. Stravinsky reception in the USSR Philip Ewell; 31. The Stravinsky/Craft conversations in Russian and their reception Olga Manulkina; 32. Publishing Stravinsky Nigel Simeone; 33.Copyright, the Stravinsky estate, and the Paul Sacher foundation Heidy Zimmermann; 34. Evoking the past, inspiring the future Lynne Rogers; 35. 'Music is, by its very essence, powerless to express anything at all' Daniel K L Chua; Index.

'a fascinating read for more-seasoned musicians … Recommended.' M. Neil, Choice Connect