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after the rite
i

After the Rite

STRAVINSKY ’S PATH TO NEOCL ASSICISM (1914–25)

Maureen A. Carr

1
1
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Library of Congress Cataloging-in-Publication Data

Carr, Maureen A., author.
After the Rite : Stravinsky's path to neoclassicism (1914-1925) / Maureen A. Carr.
pages ; cm
Includes bibliographical references and index.
ISBN 978–0–19–974293–6 (hardback)
1. Stravinsky, Igor, 1882–1971—Criticism and interpretation. 2. Neoclassicism (Music)
3. Music—20th century—Analysis, appreciation. I. Title.
MT92.S85C37 2014
780.92—dc23
2013033212
This volume is published with the generous support of the Otto Kinkeldey Endowment of the
American Musicological Society, funded in part by the National Endowment for the Humanities
and the Andrew W. Mellon Foundation.

987654321
Printed in the United States of America
on acid-free paper
IN MEMORIAM

Bernard M. Carr
(1907–1989)

Emily J. Carr
(1907–1993)
i

Contents
Preface ix
Acknowledgments xi
List of Figures xv
List of Musical Examples xix

Introduction 1

1. The Emergence of Stravinsky’s Neoclassicism: The Aesthetic Underpinnings

of the Idea in the Other Arts and in Recent Social/Political History 7
1914. Literature, Art, Music, and Dance 7
1917. Revolution in the Arts: Burliuk’s Neomorphism and Stravinsky’s
Neoclassicism 22
1920–25: Style and Technique 26
Commentaries by Stravinsky and Others That Help to Define His Neoclassical
Aesthetic 29
Postlude: The Classicism of Models 33

2. Stravinsky at the Crossroads after the Rite 35

Jeu de rossignol mécanique [Performance of the Mechanical Nightingale]
(August 1, 1913) 35
Trois pièces pour quatuor à cordes, II [Three Pieces for String Quartet, II] 44
Trois pièces faciles (Kl 4 hdg) [Three Easy Pieces] (4 hands), “Marche”
(December 19, 1914) 51
Postlude 63

3. Stravinsky at the Crossroads between Primitivism and Neoclassicism: Renard [Bajka]

(1915–16) and Histoire du soldat (1917–18) 64
Original French Text of Renard 93
Original French Text of Histoire du soldat 100

vii
viii i Contents
4. Stravinsky’s Improvisatory Style 121
The Predictive Qualities of the Étude pour Pianola (1917) 121
Stravinsky’s Appropriation of the “Rag Idiom” (1917) 131
Stravinsky Completes Three Works That Were Inspired by Elements
of Ragtime (1918) 139
The Order in Which the Works of 1918 Were Completed 141
The Reception of These Works in 1919 142
The Two Faces of Stravinsky’s Piano-Rag-Music (1919): Portrait or Collage? 143
Stravinsky’s Path to Abstraction: An Interruption on His Journey to
Neoclassicism 162

5. Stravinsky’s Compositional Process for Two Works Completed in 1920: Concertino and
Symphonies d’instruments à vent 163
Order and Chaos in Stravinsky’s Concertino for String Quartet (1920) 163
Symphonies d’instruments à vent (191?–20) 182

6. Pulcinella (1919–20), Les cinq doigts “Larghetto” (1921), and Mavra (1921–22) 201
Pulcinella (1919–20) 201
Les cinq doigts (1921): “Larghetto” (January 31, 1921) 226
Mavra (1921–22) 230

7. Octet (1919–23), Cinq pièces monométriques (frags.; 192?), Concerto for Piano and
Winds (1923–24) 248
Introduction 248
Concerto pour piano suivi d’orchestre d’harmonie [Concerto for Piano and Winds]
(1923–24) 254
Conclusion 259

8. Piano Sonata (1924) and Serenade in A (1925) 263

Piano Sonata (1924): Vestiges of Classical Sonata Form Are Evident, Even
Though Stravinsky Claims to Have Avoided Such Restrictions 263
Serenade in A for Piano (1925) 284
Conclusion 303

Epilogue: The Evolution of Stravinsky’s Creative Genius 304

Bibliography 305
Index of Musical Works by Stravinsky 319
General Index 325
 Preface

after the rite: Stravinsky’s Path to Neoclassicism (1914–25) traces the evolution of
Stravinsky’s compositional process with excerpts from “The Performance of the
Mechanical Nightingale,” the second movement of Three Pieces for String Quartet,
Renard, Histoire du soldat, Étude for Pianola, Ragtime, Piano-Rag-Music, Symphonies of
Wind Instruments, Concertino, Pulcinella, Mavra, Octet, Cinq pièces monométriques,
Concerto for Piano and Winds, Piano Sonate, and ending with the Serenade in A.
One of the goals of this monograph is to illustrate how musical sketches help to
inform music analysis. The use of original sources, diplomatic transcriptions, and dia-
grams illustrate: (1) the presence of melodic motives, such as anticipatory gestures
that have a bearing on subsequent works, (2) the layering of imitative techniques
that sometimes participate in the emergence of block form before transitioning into
Stravinsky’s Neoclassical style, and (3) the incorporation of materials borrowed from
the eighteenth century to create musical narrative, and so on.
In addition to these visual representations of musical ideas, another goal is to con-
sider the cultural complexities that established the framework for Stravinsky’s evolu-
tion as a composer, such as: (1) the cross-currents in literary circles around 1914 that
were concerned with Shlovsky’s “Resurrection of the Word” and the notion of defamil-
iarization, (2) the swirling designs in artworks by painters who espoused the ideals of
futurism and cubo-futurism, and (3) Fokine’s outline of the “New Ballet” that appeared
in the Times (London) on July 6, 1914, just before the declaration of war on July 28,
1914, and that in a way paralleled the emergence of Stravinsky’s Neoclassicism.

ix
xi Preface
With the crystallization of Neoclassicism in the Octet and in the Concerto for Piano
and Winds, it is possible to discuss Stravinsky’s take on sonata form. This is also the
case in his Piano Sonata. Allusions to compositional models by Bach and Beethoven
in the Piano Sonata and to Chopin in the Serenade in A help us to realize the depth of
Stravinsky’s knowledge of the keyboard literature.
 Acknowledgments

after the rite: Stravinsky’s Path to Neoclassicism (1914–25) was written in the exciting
world generated by musical ideas. Surely this was Igor Stravinsky’s world as well. My
journey for this project began at the Stravinsky Collection of the Paul Sacher Stiftung
in Basel, Switzerland, in the Fall of 2006 and continued in subsequent visits.
I wish to express my deepest appreciation to PD Dr. Ulrich Mosch, the musicolo-
gist in charge of the Stravinsky Collection at the Paul Sacher Stiftung, for his gracious
assistance in providing me access to the musical and literary sources that have formed
the basis for this study. Since my first visit to Basel in September of 1992, my research
has benefitted from Ulrich’s wisdom and his loyalty. In addition, I wish to acknowledge
Prof. Dr. Hermann Danuser, Coordinator of Musicological Research, Dr. Felix Meyer,
Director of the Paul Sacher Stiftung, and Dr. Heidy Zimmermann for their continued
interest in my research. My thanks are also due to John Stravinsky, a grandson of Igor
Stravinsky, for his final approval on behalf of the family to publish my book and to
Marie Stravinsky, a great granddaughter, who gave permission for me to use a drawing
by Mikhail Larionov of the costume design for Renard that was inscribed by the artist
to Igor Stravinsky.
Additional images by Larionov for Renard were sent by the Theater Collection of
Harvard University. Hannah Rhadigan, of the Artists Rights Society (ARS), New York,
approved the use of these images as well as Larionov’s portrait of Stravinsky that
appears on the cover with the kind permission of Vladimir Tsarenkov who also pro-
vided the image by Vladimir Baranov-Rossiné. In my search for other permissions,
Peter Rohowsky of Art Resource, Inc., led me to Mary Clare Burliuk Holt, the grand-
daughter of David Burliuk. Mary Holt gave permission to use three of David’s works.
xi
xii i Acknowledgments
In turn, Mary introduced me to Myroslav Shkandrij, Professor of Slavic studies at the
University of Manitoba. Both Mary and Myroslav advised me on the interpretation of
Burliuk’s Neomorphism.
Through the courtesy of Nicolas Bell (Curator of Manuscripts at the British Library),
an image that David Burliuk contributed to a book by Vladimir Mayakovsky is repro-
duced in this monograph. Both Nicolas Bell and Howard Friend (Chester Music) per-
mitted me to use excerpts from the short score of Pulcinella on loan to the British
Library. John White (Boosey and Hawkes) allowed for the incipits from a Table in my
facsimile edition of the sources and sketches for Pulcinella, published by A-R editions,
to appear, with the permission of Patrick Wall and James Zychowicz.
Both Howard Friend (Chester Music) and John White (Boosey and Hawkes) were
most attentive to my requests for permissions and generous in their responses to
permit the reproduction of numerous excerpts from musical scores published by their
companies, as was Kristine Schwarz (EditionWilhelm Hansen). In particular, Howard
Friend loaned a draft of the 2014 edition of the orchestral score for Renard, edited by
Millan Sachania, to assist with one of the excerpts.
Approval from Kim Bush, of the Guggenheim Museum, for Giacomo Balla’s
Abstract Speed and Sound is greatly appreciated, as is the permission from Richard
Riss for Sonia Delaunay’s Prismes électriques and from Timothy Motz of the Toledo
Museum of Art for Robert Delaunay’s La ville de Paris. For two paintings by Paul Klee,
the generosity of Bettina Friedli, on behalf of the Emanuel Hoffmann Foundation for
Polyphonie, and Maria Theresa Brunner of the Basel Kunstmuseum for Alter Klang,
will enhance the discussion of musical “block form” in Stravinsky’s Piano-Rag-Music
and Concertino.
My study of Stravinsky manuscripts on loan from the Robert Owen Lehman
Collection at the Morgan Library in New York was made possible through the gracious
assistance of Frances Barulich, Mary Flagler Cary Curator. In Washington, DC, at the
Library of Congress, I wish to thank librarians who were especially helpful: Emily Carr
and Kevin LaVine. In Basel at the Paul Sacher Stiftung, I benefited from the dedication
of Sabine Hänggi-Stampfli, head librarian, and members of her staff, especially Carlos
Chanfón who works with the Stravinsky collection. At Penn State, my appreciation is
due to Amanda Maple, head of the Arts and Humanities Library, and members of
her staff. In Paris, Alexandra Laederich, General Delegate of the Centre International
Nadia and Lili Boulanger, was kind to approve the transcription of handwritten com-
ments by Nadia Boulanger given to me by Kimberly Francis. Two literary scholars at
Centre de recherchessur les letters romandes (University of Lausanne) assisted with
matters pertaining to the librettos by Charles-Ferdinand Ramuz: Daniel Maggetti
provided permission from the Ramuz family and Stéphane Pétermann clarified bib-
liographic information. Laurent Kasper-Ansermet of Seillans/France was kind to
allow the reproduction of a postal card that his grandfather (Ernest Ansermet) sent
to Stravinsky. Valérie Dufour of the Université libre de Bruxelles shared invaluable
insights into the interpretation of texts written in French by Stravinsky—especially
Poétique Musicale.
 Acknowledgments j xiii
Among those who made translations of complicated passages in multiple foreign
languages, I wish to thank: Dina Lentsner (Capital University) and her sister Alla
Petrov for their translations of Russian, Lynn Palermo (Susquehanna University) for
French, and Marica Tacconi (The Pennsylvania State University) for Italian.
At The Pennsylvania State University, I am especially grateful for the assistance of
my colleague, Phillip Mackenzie Torbert, in the preparation of this manuscript. He cre-
ated diplomatic transcriptions from my jottings, and designed the charts and tables, in
addition to managing the numerous details related to the organization of the graphic
files—both musical and visual—and keeping record of all the necessary permissions
as they came in. He also helped in the final preparations to submit this complicated
manuscript. It is a privilege to work with Phil, because of his extraordinary talents,
and for the mutual respect and admiration that we share. Without his expertise, After
the Rite would never have been realized.
Christopher Madden assisted with compiling and editing the bibliography when
he was a graduate student at Penn State. His attention to detail and consistency in
keeping with the guidelines of the 16th edition of the Chicago Manual of Style are
very much appreciated. I remain grateful to Chris and to all of my students (past and
present) for their insights, most especially to those who commented on drafts of chap-
ters for this book.
I wish to acknowledge the enthusiastic support of my music theory and history col-
leagues (Vincent Benitez, Thomas Cody, Mark Ferraguto, Taylor Greer, Steven Hopkins,
Eric McKee, MaricaTacconi, Phillip Mackenzie Torbert, and Charles Youmans), of the
ensemble conductors who champion the music of Igor Stravinsky (Gerardo Edelstein,
Dennis Glocke, and Christopher Kiver), and of those who espouse the interdisciplin-
ary spirit that is embodied in this book. Among those who deserve special recognition
is Marica Tacconi, who, during her tenure as director of the Institute for the Arts and
Humanities, inaugurated the “Moments of Change” initiative that inspired the Weiss
Seminar “Picasso, Stravinsky, and the Ballets Russes in Belle Époque Paris” that I was
privileged to teach with Nancy Locke and Willa Silverman, with the support of Linda
Woodbridge.
Most importantly, I am grateful to the executives of The Pennsylvania State
University, Sue Haug (Director of the School of Music), Barbara Korner (Dean of the
College of Arts and Architecture), and William Doan (Associate Dean for Research
and Graduate Studies) for their understanding of the nature of my work, for support-
ing my research activities with the gift of time, and for promoting me to the rank of
Distinguished Professor.
Grants and fellowships received from funding agencies: the American Philosophical
Society, the Institute for the Arts and Humanities (The Pennsylvania State University),
and the College of Arts and Architecture Committee on Faculty Creative Achievement
and Research (The Pennsylvania State University) were fundamental to the successful
outcome of my research.
Those Stravinsky scholars who have served as audience for my presentations
of segments of this book at numerous conferences both in the USA (UNC-Chapel
xiv i Acknowledgments
Hill) and in England (Lancaster), France (Strasbourg), Italy (Salerno and Rome),
and Russia (Moscow) provided valuable input. I wish to acknowledge the efforts
of Severine Neff (UNC-Chapel Hill) and Svetlana Savenko (Moscow Tchaikovsky
Conservatory) for inviting me to participate in celebrations in this country and
in Russia to commemorate the 100th anniversary of The Rite of Spring. The inter-
national exchange of ideas at these conferences was valuable and will continue to
blossom in the future.
During the long periods of solitude that were required to complete this project, I felt
the constant support of family and friends. Their kind words were always reassur-
ing. Most important, I wish to acknowledge the love and devotion of my late parents,
Bernard M. and Emily J. Carr, to whom this book is dedicated. They always encouraged
me in my life’s work, and they continue to be my guiding lights. My brother Bernard
T. and my sister-in-law Brenda, members of their family, and my cousin Joan formed
a powerful support network, together with Bill and Cathy Anderson, and Marlyse
and Claude Lupis of Boston; David Griffin, O.S.B; Matthew Laffey, O.S.B.; Anne and
Michael Lescanic of State College; and Lisa Holinger, Gregor Muntwiler, Rita and Hans
Noetzli-Restelle, and Rosmarie and Adriano Zanoni of Basel. I am also grateful to John
J. Solic and the other physicians who take care of my health.
Finally, I wish to recognize Suzanne Ryan, Editor in Chief, Humanities and Executive
Editor, Music at Oxford University Press, and Jessen O’Brien, Editorial Assistant,
Music at Oxford University Press, for the extraordinary sensitivity with which they
treated me and my manuscript. Each level of the process that resulted in the publi-
cation of this book was characterized by professionalism, humanity, and optimism.
Andrew Westerhaus, copy editor, and Molly Morrison of Newgen provided expert
guidance.
The color insert was generously supported by funds from the Office of Associate
Dean for Research and Graduate Studies and the School of Music in the College of Arts
and Architecture of The Pennsylvania State University.
 List of Figures

1.1a Georgii Yakulov, Benedikt Livshits and Arthur Lourié, Poster No. 1, We and the
West, 1914. 9
1.1b Translation of Fig. 1.1a. 10
1.2 Vladimir Baranov-Rossiné, Nymphen uns Zentauren, 1914. 11
1.3 Sonia Delaunay, Prismes électriques “Huile sur toile,” 1914. 13
1.4 Sonia Delaunay, Prismes électriques “Huile sur toile,” 1914, detail. 14
1.5 Robert Delaunay, La ville de Paris (The City of Paris), ca. 1911. 14
1.6a Владимір Маяковскій. Трагедія в двух действіях с прологом и эпилогом. (Рисунки
Владимір, Давид Бурлюки.) Москва: Тип.-Лит. Т/Д. И. Н. Грызуновъ и Ко., 1914.
[Vladimir Mayakovsky. The Tragedy in Two Acts with Prologue and Epilogue.
(Drawings by Vladimir and David Burliuk.) Moscow: I.N. Gryzunov & Co.,
1914.] 16
1.6b David Burliuk, Mayakovsky, pen and ink, 1930. 16
1.7 David Burliuk, Dance Variation after The Dancer, 1910, repainted in 1962. 17
1.8 Giacomo Balla, Abstract Speed + Sound (Velocità astratta + rumore), 1913–14. 18
1.9 David Burliuk, Neomorphism, 1918. Inscription of lower left corner reads “begging
stars of midnight city.” 23
1.10 One of the earliest sketches for the “Petit choral” in Histoire du soldat. 24
1.11 Pablo Picasso, line drawing on the cover of Stravinsky’s piano reduction of Rag-
time for 11 Instruments. 27
2.1 Facsimile of the sketch for: “Performance of the Mechanical Nightingale” from
the The Nightingale, R-92 with permission of the Paul Sacher Stiftung. Очень
доволен! [{I am} very satisfied!] 19 vii 1 viii 1913 [7/19 8/1 1913], signed. 37
xv
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