Stravinsky

by Stephen Walsh

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  Kall, A. “Stravinsky in the Chair of Poetry,” Musical Quarterly, 26 no. 3 (July, 1940), 283–96.

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  _________. “Igor Strawinsky, ou Le choix de la misère musicale,” Les Temps modernes, 1 (1946), 1320–36.

  _________. “Two Composers: Schönberg and Stravinsky. A Letter from Hollywood,” Partisan Review 15 (March 1948), 361–5.

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  Morton, L. “Stravinsky in Los Angeles,” program book of the Festival of Music Made in Los Angeles (Los Angeles: Los Angeles Philharmonic Association, 1981), 66–86.

  Murrill, H. “Aspects of Stravinsky,” Music & Letters, xxxii/2 (April 1951), 118–24.

  Nabokov, N. Old Friends and New Music (London: Hamish Hamilton, 1951).

  _________. Bagazh: Memoirs of a Russian Cosmopolitan (New York: Atheneum, 1975).

  _________. “Stravinsky Now,” Partisan Review, 11 (1944), 324–34.

  _________. “The Atonal Trail—A Communication,” Partisan Review 15 (1948), 580–5.

  Nashold, J., and G. Tremlett. The Death of Dylan Thomas (Edinburgh and London: Mainstream Publishing, 1997).

  Nattiez, J.-J., and R. Piencikowski (eds.). Pierre Boulez–John Cage: Correspondance et Documents (Mainz: Schott, 2002).

  Nest’yev, I. “Vechera Igorya Stravinskovo,” Sovetskaya Muzïka, no. 12 (December 1962), 92–5.

  Newman, A., and R. Craft. Bravo Stravinsky (Cleveland and New York: World Publishing Company, 1967).

  Nichols, R. Conversations with Madeleine Milhaud (London: Faber and Faber, 1996).

  Ocampo, V. Autobiografía (Buenos Aires: Sur, 1979–84).

  Oja, C. J. (ed.). Stravinsky in Modern Music (New York: Da Capo Press, 1982).

  Oliver, Michael. Igor Stravinsky (London: Phaidon, 1995).

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  Pasler, J. (ed.) Confronting Stravinsky (Berkeley, Los Angeles, London: University of California Press, 1986).

  Perrin, M. “Stravinsky in a Composition Class,” The Score, 20 (June 1957), 44–6.

  Peyser, J. The Memory of All That (New York: Billboard Books, 1998).

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  Prunières, H. (ed.). La Revue musicale, 20è année, no. 191 (May-June 1939) (Stravinsky issue).

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  Rosar, W. H. “Stravinsky and MGM,” in Clifford McCarty (ed.), Film Music (vol. 1, New York: Garland, 1989), 108–22.

  Rosenthal, A. “The Paul Sachar Foundation at the Crossroads: The Purchase of the Igor Stravinsky Archive,” in Paul Sacher in Memorium (Basel: Paul Sacher Stiftung, 2000), 37–40.

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  Saunders, F. S. Who Paid the Piper? (London: Granta Books, 1999).

  Savenko, S. Mir Stravinskovo (Moscow: Kompozitor, 2001).

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  _________. “Inspiration und fabrication: Beobachtungen zu Igor Strawinskys Arbeit an The Rake’s Progress,” in F. Meyer (ed.), Quellenstudien II (Winterthur: Amadeus, 1993), 39–72.

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  _________. “Stravinsky in Soviet Russian Criticism,” Musical Quarterly, 48 (1962), 340-61.

  Sessions, R. “Thoughts on Stravinsky,” The Score, 20 (June 1957), 32–7.

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  _________. “From Copenhagen and Paris: A Stravinsky Photograph-Autograph at the University of British Columbia,” Notes 59/3 (2003), 542–55.

  _________. “Unknown Words and Music, 1939–44, by Stravinsky,” in D. Rosen and C. Brook (eds.), Words on Music: Essays in Honor of Andrew Porter on the Occasion of His 75th Birthday (Hillsdale, New York: Pendragon Press, 2004), 300–19.

  _________. “Stravinsky’s Scherzo … à la russe and its two-piano origins,” in B. Haggh (ed.), Essays on Music and Culture in Honor of Herbert Kellman (Paris: Minerve, 2001), 518–37.

  _________. “A Stravinsky Holograph in 1936 for Juan José Castro in Buenos Aires,” in C. Reardon and S. Parisi (eds.), Music Observed: Studies in Memory of William C. Holmes (Warren, Mich.: Harmonie Park Press, 2004), 447–58.

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  _________. “Stravinsky’s Second Crisis: Reading the Early Serial Sketches,” Perspectives of New Music, 37/2 (Summer 1999), 117–46.

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  Steegmuller, F. Cocteau (London: Macmillan, 1970).

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  _________. Stravinsky’s Late Music (Cambridge: Cambridge University Press, 2001).

  Stravinsky, I. “The Diaghilev I Knew,” Atlantic Monthly (November 1953), 33–6.

  _________. “Foreword,” in H. Eimert and K. Stockhausen (eds.), Die Reihe, 2: Anton Webern (2nd rev. Eng. edition, Bryn Mawr: Theodore Presser, 1959), vii.

  _________. “Quelques Confidences sur la musique,” Conferencia, 15 December 1935; reprinted in White, Stravinsky: The Composer and His Works, 581–5.

  _________. Leben und Werk—von ihm selbst (Zurich/Mainz: Atlantis/Schott, 1957).

  _________. Poétique musicale, ed. Myriam Soumagnac (Paris: Harmonique Flammarion, 2000).

  _________. Introduction, in G. Watkins, Gesualdo: The Man and His Music (London: Oxford University Press, 1973).

  Stravinsky, S. Unpublished interview with Thor Wood, February 1977 (typed transcript in New York Public Libr
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  Taper, B. Balanchine (Berkeley, Los Angeles and London: University of California Press, 1987).

  Taruskin, R. “The Dark Side of Modern Music,” New Republic (5 September 1988), 28–34.

  _________. Stravinsky and the Russian Traditions: A Biography of the Works through “Mavra” (Oxford: University Press, 1996).

  _________. Defining Russia Musically (Princeton: Princeton University Press, 1997).

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  Varunts, V. “Strawinsky protestiert …,” Mitteilungen der Paul Sacher Stiftung, no. 6 (March 1993), 35–7.

  _________. “A. Schoenberg—I. Stravinsky: khronika odnoy vrazhdï,” in E. Y. Chigaryova and E. A. Dolenko (eds.), Arnold Schoenberg: vchera, sevodnya, zavtra (Moscow: Moskovskoy gosudarstvennoy konservatoriya, 2002), 142–77.

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  Vlad, R. Stravinsky (2nd ed. London: Oxford University Press, 1967).

  Walsh, S. The Music of Stravinsky (London: Routledge, 1988).

  _________. “Stravinsky’s Symphonies: Accident or Design?” in C. Ayrey and M. Everist (eds.), Analytical Strategies and Musical Interpretation (Cambridge: Cambridge University Press, 1996), 35–71.