PLUS SOME FAMOUS WORDS ABOUT IT
ex. 8-16 Igor Stravinsky, Octet for Winds in Arthur Lourié’s piano transcription, III, end
That self-evident mood of facetiousness that makes the Octet so charming, once the initial shock has worn off, gave Stravinsky another avenue for ironic play. He accompanied its appearance with a mock-forbidding manifesto, “Some Ideas about My Octuor” (using the French word for octet), which he published in a London arts magazine in January 1924. (It was the first of many such publicity pieces with which Stravinsky sought to manage the reception of his work.) Originally, this spectacularly humorless little essay must have been meant as a joke at his readers’ expense, such as many French composers were then playing in accordance with the reigning postwar mood of debunkery. Stravinsky maintained the deadpan better than they, with the result that his peremptory words were taken seriously (at least by those unfamiliar with the music). Eventually Stravinsky seems to have taken them seriously himself.
- Citation (MLA):
- Richard Taruskin. "Chapter 8 Pathos Is Banned." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 7 Dec. 2019. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-008009.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 8 Pathos Is Banned. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 7 Dec. 2019, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-008009.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 8 Pathos Is Banned." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 7 Dec. 2019, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-008009.xml
