Artistically, the ballet strived for ethnographic authenticity. Roerich’s costumes were
Artistically, the ballet strived for ethnographic authenticity. Roerich’s costumes were
Artistically, the ballet strived for ethnographic authenticity. Roerich’s costumes were
18. Nikolai Roerich: costumes for the Adolescents in the first production of The Rite of
18. Nikolai Roerich: costumes for the Adolescents in the first production of The Rite of
18. Nikolai Roerich: costumes for the Adolescents in the first production of The Rite of
Nikolai Roerich: costumes for the Adolescents in the first production of The
ogy. Then there was Nijinsky’s shocking choreography - the real scandal of the ballet’s in
ogy. Then there was Nijinsky’s shocking choreography - the real scandal of the ballet’s in
ogy. Then there was Nijinsky’s shocking choreography - the real scandal of the ballet’s in
(Stravinsky said that he did not really know how to notate or bar them) - a convulsive poun
(Stravinsky said that he did not really know how to notate or bar them) - a convulsive poun
(Stravinsky said that he did not really know how to notate or bar them) - a convulsive poun
The Revolution found Stravinsky in Clarens, Switzerland, where he had been stranded beh
The Revolution found Stravinsky in Clarens, Switzerland, where he had been stranded beh
The Revolution found Stravinsky in Clarens, Switzerland, where he had been stranded beh
19. Stravinsky transcribes a folk song sung by a peasant gusli player on the
19. Stravinsky transcribes a folk song sung by a peasant gusli player on the
19. Stravinsky transcribes a folk song sung by a peasant gusli player on the
Stravinsky transcribes a folk song sung by a peasant
porch of the Stravinsky house at Ustilug, 1909. Stravinsky’s mother, Anna,
porch of the Stravinsky house at Ustilug, 1909. Stravinsky’s mother, Anna,
porch of the Stravinsky house at Ustilug, 1909. Stravinsky’s mother, Anna,
porch of the Stravinsky house at Ustilug, 1909. Stravinsky’s mother, Anna,
Stravinsky did the same through his music. Cut off from Russia, he felt an intense longing fo
Stravinsky did the same through his music. Cut off from Russia, he felt an intense longing fo
Stravinsky did the same through his music. Cut off from Russia, he felt an intense longing fo
Stravinsky laboured even longer on The Peasant Wedding (Svad-ebka), a work begun before the
Stravinsky laboured even longer on The Peasant Wedding (Svad-ebka), a work begun before the
Stravinsky laboured even longer on The Peasant Wedding (Svad-ebka), a work begun before the
The Peasant Wedding (Svad-ebka),
longer than on any other score. The ballet had its origins in his final trip to Ustilug. Stra
longer than on any other score. The ballet had its origins in his final trip to Ustilug. Stra
longer than on any other score. The ballet had its origins in his final trip to Ustilug. Stra
This was the idea behind The Peasant Wedding - an attempt, in his own words, to re-create in ar
This was the idea behind The Peasant Wedding - an attempt, in his own words, to re-create in ar
This was the idea behind The Peasant Wedding - an attempt, in his own words, to re-create in ar
the holy Russia of the Orthodox, a Russia stripped of its parasitic vegetation; its bur
the holy Russia of the Orthodox, a Russia stripped of its parasitic vegetation; its bur
the holy Russia of the Orthodox, a Russia stripped of its parasitic vegetation; its bur
fashion with the aristocracy; its scientism (alas!), its ‘intellectuals’ and their inane an
fashion with the aristocracy; its scientism (alas!), its ‘intellectuals’ and their inane an
fashion with the aristocracy; its scientism (alas!), its ‘intellectuals’ and their inane an
Stravinsky had hit upon a form of music that expressed the vital energy and spirit of the peop
Stravinsky had hit upon a form of music that expressed the vital energy and spirit of the peop
Stravinsky had hit upon a form of music that expressed the vital energy and spirit of the peop
The Peasant Wedding was a work of musical ethnography. In later years Stravinsky tried to
The Peasant Wedding was a work of musical ethnography. In later years Stravinsky tried to
The Peasant Wedding was a work of musical ethnography. In later years Stravinsky tried to
Life and art were intimately linked. The Russian peasant wedding was itself performed as
Life and art were intimately linked. The Russian peasant wedding was itself performed as
Life and art were intimately linked. The Russian peasant wedding was itself performed as
(for, as the peasants said, all marriages were ‘forged’). Then came the prenuptial ritua
(for, as the peasants said, all marriages were ‘forged’). Then came the prenuptial ritua
(for, as the peasants said, all marriages were ‘forged’). Then came the prenuptial ritua
It was a commonplace in the Eurasian circles in which Stravinsky moved in Paris that the gr
It was a commonplace in the Eurasian circles in which Stravinsky moved in Paris that the gr
It was a commonplace in the Eurasian circles in which Stravinsky moved in Paris that the gr
one, like some vast machine made of human beings, and carrying the whole of the storyline
one, like some vast machine made of human beings, and carrying the whole of the storyline
one, like some vast machine made of human beings, and carrying the whole of the storyline
