Tag: Igor Stravinsky

  • Before Mixed Martial Arts, Presidents Aimed for Stravinsky

    Before Mixed Martial Arts, Presidents Aimed for Stravinsky

    The new norm is to have steel-cage death matches on the South Lawn, but in 1962 an American president might invite Igor Stravinsky to the White House. On Stravinsky’s birthday, here’s an amusing account of the composer’s visit with the Kennedys:

    https://www.whitehousehistory.org/igor-stravinsky-at-the-white-house

    “Despite such criticism – which was entirely typical of Stravinsky’s unfiltered personality – he clearly remembered the visit with fondness and gratitude. In January, 1964 he commemorated John F. Kennedy – who had been assassinated on November 22, 1963 – by composing ‘Elegy for J.F.K.,’ a vocal piece with words by W.H. Auden. ‘I felt that the events of November were being too quickly forgotten,’ the composer told The New York Times, ‘and I wished to protest.’”



    Leonard Bernstein was also in attendance at the dinner. Bernstein’s “Fanfare for JFK” was heard for the first time on the eve of Kennedy’s inauguration, also on this date, though one year earlier. It’s only 40 seconds long, so if you blink, you’ll miss it.


    In 1978, Bernstein gave the opening speech at the first Kennedy Center Honors, at which the honorees included Marian Anderson, Richard Rodgers, George Balanchine, Fred Astaire, and Arthur Rubinstein.


    I’ll spare you the entirety of Bernstein’s “Mass,” commissioned by Jacqueline Kennedy for the opening of the Kennedy Center in 1971, but here’s the piece’s hit tune, “A Simple Song.”


    The questions, where are our Bernsteins and Stravinskys – or for that matter, our Marian Andersons, Richard Rodgerses, George Balanchines, Fred Astaires, and Arthur Rubinsteins – and why are they not honored at the White House, seem moot.

    Stravinsky’s concern about the events of November 1963 being forgotten were echoed by many Americans in December 2025. Some presidents try to set an example by leading in a spirit of hope and aspiration. Others attempt to validate themselves by affixing their names to the Kennedy Center.

  • Stravinsky’s Requiem Canticles Premiere at Princeton

    Stravinsky’s Requiem Canticles Premiere at Princeton

    Igor Stravinsky’s late, serial masterwork, “Requiem Canticles,” was given its first performance at McCarter Theatre in Princeton on this date in 1966. It would be the composer’s last major work. (Only his setting of Edward Lear’s “The Owl and the Pussycat” followed.) Stravinsky described the 15-minute, six-movement piece, which is sung in Latin, as his “pocket requiem.” The work would be performed at the composer’s funeral in 1971. It was also played at the funeral of J. Robert Oppenheimer, who attended the premiere.

    I wrote about its first performance in 2016, its 50th anniversary, for an article for the Trenton Times, somewhat limited by word count and by the fact that I was tying it in with two Stravinsky concerts to be held at Princeton University – neither of which, disappointingly, included “Requiem Canticles” – but I did get some interesting information from my interview subjects, both eyewitnesses who were working at McCarter in 1966.

    There’s conflicting information as to who exactly conducted “Requiem Canticles” on that occasion, the composer or his assistant, Robert Craft. My sources maintain that it was Stravinsky himself.

    If you’re interested, you can find the article archived here:

    https://www.nj.com/times-entertainment/2016/12/classical_music_puo_pugc_so_pe.html

    Robert Craft’s 2005 recording of “Requiem Canticles”

    Recording of the actual McCarter premiere (thanks to Mather Pfeiffenberger)


    PHOTO: Stravinsky (right) and Robert Craft in 1964

  • Stravinsky on TV Golden Age of NBC

    Stravinsky on TV Golden Age of NBC

    Yes, there was actually a time when NBC broadcast a program called “The Wisdom Series.” One of the episodes featured a half hour with Igor Stravinsky. When was the last time you saw anything like this on network television?

    The descent into barbarism continues. Happy birthday, Igor Stravinsky!

  • Stravinsky Summer School Revolution

    Stravinsky Summer School Revolution

    How revolutionary was he? Igor Stravinsky gets sent to the office at summer school.

  • Schoenberg’s Feud with Stravinsky & Hidden Passions

    Schoenberg’s Feud with Stravinsky & Hidden Passions

    He played tennis with Gershwin. He adored Hopalong Cassidy. He feared the number 13.

    That’s right, kids! It’s Arnold Schoenberg’s birthday!

    In common with many composers who fled political unrest in Europe, Schoenberg settled in Los Angeles. He was outspoken about his dislike of many of his contemporaries. Igor Stravinsky, similarly catty, lived only a few miles away. Earlier in their careers, they were on friendly, or at least cordial terms (by Schoenberg and Stravinsky standards), but after 1925, when Schoenberg wrote a “nasty verse” (according to Stravinsky) and set it as a canon, the friendship cooled. For his part, Stravinsky told the press that he viewed Schoenberg as more of a chemist than an artist. Their contempt for one another never mellowed, and the trash talk flowed.

    This is from Schoenberg’s “Three Satires.” “Vielseitigkeit” (“Versatility”) is a palindromic canon. It can be performed front to back or back to front by inverting the music and reading it backwards. Igor is savaged as “kleine Modernsky.”

    “But who’s this beating the drum?
    Why, it’s little Modernsky!
    He’s had his hair cut in an old-fashioned queue,
    And it looks quite nice!
    Like real false hair!
    Like a wig!
    Just like (or so little Modernsky likes to think)
    Just like Papa Bach!”

    Meow, boys!

    After Schoenberg’s death, Stravinsky apparently developed an interest in “chemistry,” as he began to assimilate Schoenberg’s twelve-tone system of composition into his later works.

    This one, “Requiem Canticles,” was given its first performance at Princeton’s McCarter Theater on October 8, 1966. In attendance were Aaron Copland and J. Robert Oppenheimer. Afterward, Oppenheimer requested that the piece be played at his funeral. The request would be honored only four months later. The “Requiem Canticles” would also be performed at Stravinsky’s funeral in Venice in 1971.

    Ironically, Stravinsky and Schoenberg shared a disciple in Robert Craft, who conducted this recording. Craft championed both composer’s music and apparently was accepted in both camps.

    I wonder if Schoenberg ever met Rachmaninoff? Now that would be a scowling contest I would pay to see.


    PHOTOS: Showboat Stravinsky and scowly Schoenberg

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