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CONVERSATIONS
WITH
IGOR STRAVINSKY
Conversations
with
Igor Stravinsky
IGOR STRAVINSKY
AND ROBERT CRAFT
1959
DOXJBLEDAY & COMPANY, INC.
GARDEN
CITY,
NEW YORK
are due to
Madame
1953 by
CONTENTS
j.
2.
37
3.
About
4.
119
Index
156
92
CONVERSATIONS
WITH
IGOR STRAVINSKY
1:
KG. When
I.S.
About Composing
and Compositions
composer?
do not remember when and
how
first
thought of
R.C.The musical
idea:
when do you
recognize
it
as
an
idea?
I.S.
When
my
organization of material.
R.C. Is
it
will
I.S.
produce it?
You should not suppose that once the musical idea
11
in
R.C. You say that you are a doer, not a thinker; that com
posing is not a department of conceptual thinking;
that your nature is to compose music and you com
pose it naturally, not by acts of thought or will. A
know on
final
my building material.
R.C. When you achieve the music you have been working
to create, are you always sure of it, do you always
instantly recognize it as finished or do you sometimes
to try it for a
greater period of time?
I
find. But when I am unsure
Usually recognize
have
I.S.
my
of
it I
and
is
R.C.
Do
I.S.
me
while I
am
composing,
am
tact
and
tractiveness.
as well.
4r
.1
*i^X
/y
-.'. .
n fjl^L^'J
*
13
i/I
What
do you mean?
LS. I lack words and have no
gift for this sort of thing
anyway, but perhaps it will help if I say that when
I compose an interval I am aware of it as an
(when
as
think about
it
in that
way
at
all,
object
that is),
sion.
me while
substance stretching
exactly between the two notes I
had composed, but underneath these notes at either
end was an egg, a large testicular
The
were
egg.
gelatinous to the touch (I touched them)
eggs
and warm,
and they were protected
nests.
I
woke
by
up knowing
that my interval was
right. ( For those who want more
of the dream, it was
pink I often dream in color.
Also, I was so surprised to see the
eggs I immediately
understood them to be symbols. Still in the
dream,
I went to
my library of dictionaries and looked up
"interval," but found only a
confusing explanation
which I checked the next
morning in reality and
found to be the same.)
R.C. While
14
Have you
its
coming?'*
I.S.
If
music
living as
suppose
to
it is),
and
flection
me
is
my
saying so
as such
is
the result of a re
But
is
this
it
as a truth,
is
is
music. Music
many people
think below
of something
little
R.C.
Do you work
I.S.
is,
discussion. Musical
R.C.I have often heard you say "an artist must avoid
symmetry but he may construct in parallelisms/'
The mosaics
Judgment are a
equally balanced.
sides
symmetry
in subtle parallelisms.
suggestion of symmetry
is
Whether
or not the
it.
And
as the Incas,
I.S.
It
matical?
is,
at
any
literature
mathematics than to
itself, but cer
mathematical thinking and
modes while
incidentally,
interested me in school. Musical form
mathematical
always ideal, whether
as Ortega y Gasset wrote, "an
image of memory
because
it is,
it is ideal,
and form
is
is
matical formulae.
R.C.
You
Is it
critics
is
to solve a problem.
have done
me
by
the honor
my method
stylistic
reference to
evoking
rhythms.
it
stylistically
by such means
as
dotted
LS.
R.C.A
Josqurn.
18
I.S.
JFLC.
smaller
ment
of the
Symphony
sixteenth-note beats,
Concertant which
in C,
and the
which
is
in eighth-
final piece of
the
and
Duo
were to double
in quarters and eighths, how would it affect the
music in your mind? Also, do you always think or see
the note unit as you compose and have you ever re
written anything in different note values after it was
composed? Your 1943 revision of the Danse Sacrale
from the Sacre du Printemps doubles the values from
sixteenths to eighths; was this done to facilitate read
the
ing (does it facilitate reading)? Do you believe
size of the note has a relation to the character of
the music?
tions.
19
only explanation.
As a composer I associate a certain kind of music, a
certain tempo of music, with a certain kind of note
unit. I compose
directly that way. There is no act of
selection or translation, and the unit of the note and
the tempo appear in my imagination at the same time
as the interval itself.
Only rarely, too, have I found
that my original beat unit has led me into notation
difficulties.
The Dithyrambe
in the
Duo
Concertant,
is
original
itself.
fast
for example,
Can
accents as
I.S.
To
by means
of
first
question my answer is, up to a point,
in
that
but
point is the degree of real regularity
yes,
the music. The bar line is much, much more than a
mere accent, and I don't believe that it can be simu
the
lated
by an
R.C. In your
my music.
tonal
rhythmic, and other means, but especially by
will ever abandon the tonal
ity. Do you think you
identification?
LS. Possibly.
We
can
still
R.C. What
is
the feeling
Do
to recitation (Persephone)?
not ask. Sins cannot be undone, only forgiven.
accompaniment
I.S.
now
THE SERIES
R.C.
Do you
intervals; that
I.S.
pull?
intervals of
The
my
compose vertically
to compose tonally.
and that
is,
by
tonality;
How has
my choice
can in any
more
I.S.
It
is
difficult to hear.
The
rules
and
restrictions of serial
from the
22
JLC.Do you
music of
thirty-five years
oped work
system)
is
(tonal,
different.
Hercules Mass or a
serially
composed non-tonal-
system work.
HC.Do
you
find
music?
I.S.
that we call
notony (not in any pejorative sense)
"oriental" in serial works, in Boulez's Le Marteau sans
have in mind
is
characteristic of
many
we
kinds of poly
of what is oriental is an
phonic music. Our notion
association of instrumentation chiefly, but also of
especially
attitude resembles that of
oriental music. In fact,
thing
my
that excellent
them
in Attic Greek.
word invented by
who
Attic
TECHNIQUE
R.C.
What
I.S.
is
technique?
it
same signature
of the
What have
develop thoughts. We
cannot say "the technique of Bach" (I never say it),
yet in every sense he had more of it than anyone; our
ability to transfer, "express," or
even
learning, nor scholarship, nor
of how to do something. It is creation
science, neither
is
the knowledge
and, being creation,
it is
new
am
composer (though
employ the expression to
mean: "but he hasn't got the more important thing").
Technical mastery has to be of something, it has to
be something. And since we can recognize technical
critics
the
tion
tion that
is
is
new
every time or
it
nothing.
It is static
we need
it
that
is,
a contradiction to
development.
Faune
at
that
However,
one time over-
my first works,
the
26
INSTRUMENTATION
R.C. What
I.S.
is
good instrumentation?
is
and then
who
from the
practice of a good many composers, judging
number of times I have been asked
opinion as to
my
master stroke.
It is not, generally, a
Berlioz, Rimsky-Korsakov,
the greatest
composers. Beethoven
of all in our sense, is seldom praised for his instrumen
are too good music in every
tation; his
symphonies
27
The problem
therefore insurmountable,
superficially,
of orchestral distribution
and balance
is
regulated
remember a
description of Berlioz
by Rimsky-Korsakov,
who had met the French master after one of the famous Berlioz
concerts in Saint Petersburg in the late sixties.
Rimsky-Korsa
kov, who was then twenty-three or twenty-four, had attended
the concert with other young composers of the
group. They
saw Berlioz in a tail coat cut very short in the back, Rimsky
said-conduct his own music and Beethoven's. Then they were
28
the orchestra.
We
compose
make your
sound I mean).
At the beginning of my career the
clarinet
was con
remember
(the only
way
could conceive
pas une
musique pour la clarinette." What instruments do I
like? I wish there were more
good players for the bass
clarinet and the contrabass clarinet, for the alto trom
bone (of my Threni and Berg's Altenberg Lieder),
for the guitar, the mandolin, and the
cymbalom. Do
Chopin's
pianism)
"Monsieur,
ce
n'est
by any new
instrumentselectric,
am
by many non-standard or
chestral instruments,
percussion ones especially, but
also stringed instruments like those
ones I
Japanese
And
that
let
traditional
ap
pear to be at
home
in a higher
range than the
sym
lip-trills.
why
compara-
We
We
have
simplifications
by
(new to me) but until the present I have
been more often astonished by the new resources
instruments
(under
Man
its
neglected until
31
**.
ration.
"
Le Livre de Mallarme
with
its
startling
diagrams
statement
that I
am
something
GESUALDO
R.C.
sextus and bassus parts for the lost ones in Gesualdo's motet a sette?
I.S. When I had written out the five
existing parts in score,
the desire to complete Gesualdo's
to soften
harmony,
in others.
solutions that I
am
And
halves
is
music
is
It is of bass-ic
33
am composing
would
am
when
at the
lost
34
TRANSLATION
R.C.
No composer
I.S.
Let
let
precisely
certain places.
is
not always
to
it
good example of
mean by the
exam
ple,
be the
fault of
my
Russian-born, naturalized-Ameri-
35
many such
instances in all of
my
Psalms,
my
2;
SAINT PETERSBURG
R.C.
I.S.
My first experience
was
My
attendance at a concert?
told, of course,
was
We
taken to see
of that
first
''Which one
gilt
visiting foreign
musi
me in
me to comment on
it
and
to advise him.
What
could
impressed
me greatly
IS.
with
IS.
new music:
When
39
He
was:
**I
like
all, but to
it his answer
about
indignant
Scriabin's music very much/*
those people
who were
them
indeed,
of the
anyone's
ballet
40
people
to
who
the Bluebird
first."
*bir<T
had written
*
Since writing this I have conducted three performances of
the Scherzo ("whether or not it is 'Fantastique* is up to us to
Korsakov.
The
me by
original
were
harps. I remember very well how difficult all three parts
for the harpists in Saint Petersburg in 1908. In 1930 I reduced
the three parts to two for a new edition of the orchestral mate-
41
of immortality just by
or do not possess some
scowl
is the first
thing you do when
have been in
could
the
(This
you
morning?
it
had
seen
was asked.)
not
if
how
but
discreet,
you
my head,
I stand
see,
Stravinsky takes
you still say you are
Serge,
showers.
How extraordinary. Do
afraid of
their pedals.
42
who
What do you
think of that?
Shame on you
a walk.
Rachmaninov: (silence)
I remember Rachmaninov's earliest
compositions.
They were "watercolors," songs and
piano pieces
freshly influenced by Tchaikovsky. Then at twentyfive he turned to "oils" and became a
very old com
indeed.
Do
not
me
to
poser
expect
spit on him for
that,
however.
man, and
He
many
others to
be
is
a great deal.
LS.
Then, as later in
my
measure
as I
sky's talent
life,
(and
pecially when I
New Time
paper; I subscribed to
it
43
and
was usually
44
my
longer be tolerated.
As
to
my own
tact with
little
con
I think that in
personal relations.
house
He was
at Saint Petersburg.
Glinka's overtures.
Have you
al
is
of
Nikolsky, my civics professor at the University
Saint Petersburg, to pay a visit of respect to Glinka's
sister, Ludmilla Shestakova. An old lady of ninety-
two or
ninety-three, she
almost as old as herself
45
was
thrilled to
my
late father
the Cui-Dargomizhsky circle and its rabid anti-Wagnerism. Afterwards, as a memento of my visit, she
sent me a silver leaf of edelweiss.
I.S.
He was
he suffered from
cruel
I did
not mention
happiest days of
it
my
because
life.
But
it
remember Rimsky
cruelest
At Wiesbaden.
A family portrait.
Lausanne, 1914.
"Tete de Picasso
que
je
n'ai
pas reussi."
A sketch by Picasso.
With Diaghilev
in Seville, 1921.
1915.
DIAGHILEV
R.C.
What were
for example,
was
Printemps when he
first
What,
his response to
Le Sacre du
heard it?
LS. Diaghilev did not have so much a
good musical
as
an
flair
immense
for
judgment
recognizing the
potentiality of success in a piece of music or work
of art in general. In spite of his
surprise when I
played him the beginning of the Sacre ( Les Augures
Printanires) at the piano, in spite of his at first ironic
attitude to the long line of repeated chords, he
quickly
realized that the reason was
something other than
my
inability to
compose more
diversified music;
my new
he
musical
speech,
importance, and the advantage of capi
it
on
That, it seems to me, is what he thought
talizing
on first hearing the Sacre.
its
of the
first
Sacre du
I
actually brought the orchestra through to the end.
left my seat when the heavy noises began light noise
had
started
47
scheme
of the score.
From what
it
R.C.
Had you
If so, did
any of
it
is
in Ltes Noces.
49
DEBUSSY
R.C. Of your early contemporaries, to whom do you owe
the most? Debussy? Do you think Debussy changed
from
I.S.
his contact
with you?
was handicapped
much)
sic of
the Sacre
astically
voted for
a distance of
it?
This
more than
generation enthusi
is difficult
forty years.
to judge
now,
at
(Letter sent to
me in
Dear Friend,
Thanks to you
Oustiloug)
you
know many
call
things
don't
"Tour de passe-passe"
There
in
is
section
it
a kind
by
spell
You
is
certain,
ment
I
have
mean
much
of course.
will go
of this work.
acknowl
Unhap
51
is
everyone
affectionately your
CLAUDE DEBUSSY
PABIS
8th of
Don't
fall to
November 1913
it is
only me!!!
at least
if
'.
torture,
who
father.
**
Which Louis
of 1913.
Laloy, the
critic,
5*
had
is
why I wait for the stage performance like a
child
greedy
impatient for promised sweets.
As soon as I have a
of Jeux I will send
it
to
you ...
this
you
you pre
ferred
first
The Park
because
it is
is
better,
it
When
may
at last play
good music?
Very affectionately from us three to you and your wife.
Your very old friend
CLAUDE DEBUSSY
(3)
igfh
May
1913
Dear Friend,
o'clock
of reaching
53
Dear Old
Stravinsky,
me for being late in thanking you for a work
*
I have been taken
dedication is priceless to me.
Excuse
whose
with an attack of "expulsive gingivitis." It is ugly and
dangerous and one could wake up in the morning to dis
cover one's teeth falling out. Then, of course, they could
be strung into a necklace. Perhaps this is not much consola
tion?
Etoiles
Plato's
is
is still
extraordinary.
of the eternal spheres"
"harmony
probably
but don't ask me which page of his ) And, except on Sinus
or Aldebaran, I do not foresee performances of this 'cantata
for planets'. As for our more modest Earth, a performance
.
would be
I
hope
the abyss.
you have recovered. Take care, music needs
lost in
that
my
Your old
faithful
CLAUDE DEBUSSY
*
I liad
dedicated
Debussy.
my
short cantata
Le Roi des
Etoiles (1911) to
it to be
imperformable it has had only a few perform
ances in very recent years and remains in one sense my most "radical"
predicting
54
PABIS
9 November 1913
Dear
Stravinsky,
Because one
ders
why
one's letter
of the music I
by your growing
mastery have not neglected to spread very discordant ru
mours and if you are not already dead it is not their
fault, I have never believed in a rumouris it
necessary
to tell you this?
No! Also, it is not necessary to tell you
of the joy I had to see
my name associated with a very
beautiful thing that with the
passage of time will be more
beautiful still.
For me, who descend the other slope of the hill but
keep, however, an intense passion for music, for me it is a
special satisfaction to tell you how much you have en
larged the boundaries of the permissible in the empire
of sound.
Forgive
me
exactly express
my thought.
It is really a
pity that
the only place in Paris where one had started to
play music
could
not
be
successful.
I
ask
honestly
May
you, dear
saw Diaghflev
Godunov, the only performance it had, and he
nothing ... If you can give me some news without
friend,
to
do about
it? I
at Boris
said
*
had
sent
him the
score of
Le Sacre du
55
Printemps*
hesitate. In
by
it,
for
to
to
other.
Know that I am
As
enough time
de
la
My
wife.
(6)
(postcard)
PARIS
Dear
hood
Stravinsky.
to play with the calendar
56
and
I confess that
your
loves
you very
Affectionately,
CLAUDE DEBUSSY
(7)
PABIS,
know why, kept the state of your health and your residence
a mystery.
have our
difficulties.
But this is natural now that Europe and the rest of the
world think it necessary to participate in this tragic "con
cert." Why don't the inhabitants of Mars join the fray?
As you wrote to me "they will be unable to make us join
their madness." All the
same there
is
something higher
than brute force; to "dose the windows'* on beauty is
57
must be
bad
rid of this
seed.
We
have
all to kill
You
will
be needed
Stravinsky,
mi
in the
Dear
the
which we
artist.
artist. It is
be attached to
Be with
all
your
be
so wonderful to
miasma
last years,
in art, I
when
I smelled "austro-boches"
my
only with the last German! But will there ever be a "last
German?" For I am convinced that German soldiers beget
German
As
soldiers.
for Nocturnes,
I made
many
way
to
satisfy M. Ansermet
It must be confessed that music is in a bad situation
here ... It only serves charitable purposes, and we must
not blame it for that. I remained here for more than a year
it,
war
is
a state of
Olympian
58
egotist
mind
contra
Goethe
is
the
who
could work,
it is said,
them?
very
difficult to
know when we
me your
CLAUDE DEBUSSY
AH
59
JACQUES RIVIERE
R.C. You have said that Jacques Riviere, as editor of the
NouveUe Revue Fmngaise, was the first critic to
have had an intuition about your music. What were
his musical
capabilities?
LS. At this distance I am not
able to answer that,
really
say
my bal
lets to
cle
certainly,
cultivated, but
argu
afforded
me much
meetings
pleasure.
He
always
lived in semi-retire
a
young, a
by his years
and he died
still
as
broken man.
Rereading his letters I am struck (a) by the mal
ady of the French about theater tickets; they will
do absolutely anything to
get tickets except buy them;
Riviere
against
Debussy
60
February
4,
My dear Stravinsky,
I
am rather late
have been
in telling
near you in
you Bow
my thoughts
all
JACQUES RIVIERE
*I was
in Leysin in
January 1914 completing the Nightingale.
Cocteau came there in the hope of
persuading me to collaborate
with him on a work to be called David, and Diaghilev followed
a few days later with the express intention of
this same
Mm
discouraging
project Diaghilev-Cocteau relations were not ideal at the time, any
way, as Diaghilev could not stand Cocteau's fondness for Nijinsky,
but Diaghilev's excuse for the trip was the
Nightingale. Until then
he had ignored the existence of this opera (out of jealousy it had
been commissioned by a Moscow theater) but
recently the people
who were to produce it had declared bankruptcy, and he was now
sum
**
have no
6l
PARIS,
May
Dear
25th, 1914
Sir,
ure.
fuse me.
**
pleas
to re
and
to
JACQUES RIVIERE
IS RUE FROIDEVAUX,
PABIS XIV
(3)
PARIS,
May
Dear
Sir,
You
all
my
heart. Unfortunately, I
iQi4
Sic.
62,
me and
had gone
this is the
reason
why I
loge. I
me
sir,
in
my
my sympathy.
JACQUES RIVIERE
(4)
My dear Stravinsky,
asked Auberjonois
to tell you how
letter
me.
Probably he has done
your
gave
I
you most
much
so,
pleasure
but I thank
sincerely again.
Revue
production of
my
painter,
Histoire
63
first
you constantly. The influence of Peand Sacre and even of your recent works on the
younger musicians is obvious. An article by you will be
read with curiosity and sympathy everywhere in the world.
I see talks about
trotishka
To make
it
it
in Russian.
you
your work.
Please forgive me for having fulfilled only one part of
the requests you charged me with when we last saw each
other in Geneva. Most of the people you asked me to see
beg you
my
my
deepest
friendship.
JACQUES EJVIEBE
not forget to give my best wishes to Ramuz **
and Auberjonois. If it will be difficult for you to send me
P.S.
Do
U Histoire du Soldat.
me
of
PABIS,
My dear Stravinsky,
Of course your
me
to you.
With
P.S.
*
friendship, your
JACQUES RmfeaE
"Suite from the Firebird" a ballet?*
guessed.
RAVEL
R.C.
of yours
might
be?
I.S.
I left
my
it
remember a money
we were demanding
me on
an instrumentation of Khovanshchina was mine. I
was afraid not to be ready for the spring season of
1913 and I needed help. Unfortunately, however,
Diaghilev cared less about establishing a good instru
mentation of the opera and rescuing it from RimskyKorsakov than about our version as a new vehicle for
Chaliapin. That idiot from every nonvocal point of
view, and from some of these, could not realize the
66
it
kov.
live
than I am.
I think Ravel knew when he went into the hospital
for his last operation that he would go to sleep for
the last time. He said to me, "They can do what they
67
want with
my
68
COMAKQUES, THORPE-LE-SOKEN
13 December 1913
Vieux it's a long time since I've Bad any sensational news
about your health. Three weeks ago I heard about your
sudden death, but was not stricken by it as the same moming we received a postcard from you.
And the
My
respectful compliments to
Mme.
Stravinsky, kiss
MAUBICE RAVEL
14 February 1914
Dear
Igor,
I hear from
Stravinsky
me
at this time.
to
**
at
his
went
to Leysin. I
hope
It is
me by a word.
have taken refuge here in the country of my birthplace
to work, as work was becoming quite impossible in Paris.
Kiss the children for me, and present to Mme. Stravinsky
my respectful compliments. Believe in the affection of your
devoted
reassure
I
MAURICE RAVEL
(3)
26 September, 1914
did not need me. I hope that when they have re-examined
the discharged soldiers, and after all the measures I
will take, to be back in Paris, if I have the means.
all
How is
mon
**
vieux. If
it is
to
be
far
from everything!
Affectionate souvenirs to
What
all.
No news from
the Benois.
MAURICE RAVEL
*
His brother.
**
70
PARIS,
"November
Cher
vieux,
am
back in Paris
and it does not suit me at al.
want to go away more than ever. I cannot work
any more.
When we arrived Maman had to stay in bed. Now she
I
The Godebskis
are
still
at Carantec. I
still
Remember me
very soon
beg
to your
family, cher vienx. Write to me
you. Believe in
brotherly friendship.
my
MAUBICE RAVEL
(5)
December
19,
1914
Vieux,
It's settled:
you come and sleep (uncomfortably) in the
lumber room, which was the bedroom of my brother, and
Florent Schmitt.
**
Cipa Godebski, with his wife and children, Jean and Mimi. The
Godebskis (especially Misia Godebslci Sert) were
good friends of
Ravel and me. The issue of L'Oeil for Christmas 1956 contains a
history of this extraordinary family.
me
for
Chloe.
he
is
Into a Persian
You
(6)
January 2, 1915
Everything was prepared to give you, our
welcome. The Persian room with voiles from
ally, a proper
Genoa, prints from Japan, toys from China, in short a
synthesis of the "Russian Season." Yes, there was even a
mechanical Nightingaleand you are not coming.
Ainsi, vieux.
MAURICE RAVEL
*
Pianist
March
in
all of us,
my
he made a piano
Nightingale.
September
Dear
I
16,
1919
Igor.,
am
Why
didn't
I will try to
end of the
fall.
I continue to
better.
To everybody my affectionate
greetings,
MAUKICE RAVEL
(8)
Dear Igor,
Your Noces are marvellous! And I regret that I couldn't
hear and see more performances of them. But it seemed
already unwise to come the other evening; my foot was
again very swollen and I now have to go back and rest
again until next Sunday at least. Thank you, mon vieux9
Affectionately,
MAURICE RAVEL
*
The publishers.
73
SATIE
R.C. What do you recall of Erik Satie?
He was certainly the oddest person I have ever
LS.
accouterments.
his
He spoke
played
it
for a
at the
end
"Voila, messieurs,
dames/*
I
met him
in 1913, I believe; at
any
rate, I
photo
he played many of
(
I don't
75
its
polyphony;
of Pierrot but
use of
how
remember very
sub
And by
meet him,
tween.
R.C. And Berg, did you
I.S.
know him?
cert with
my
it
His scope
is
greatly enlarged
by them, but
I think
him
some particularas
minor works
so anything
by Schoenberg, a piece
of
in
of incunabula
like the
the extent of
Webem's indebtedness
strumental style
*
piece.
*
The
last
composed
respecting in
of the short
third one,
is
very unlike
Webern
77
indeed.
Nuptial of originality.
poleon
We
makes
and, for
2,2,.
By
I.S.
If I
style ( Berg's
radically alien emotional climate) I suspect he would
appear to me as the most gifted constructor in form
79
early date
80
much
of the
Marsch
tral
skill
are phenomenal,
phonic planes.
ever imagined
One
of the
most remarkable
noises
he
no
Web-
81
"artist's" cravat;
in Ids
flowing
shoes,
who
according to
months, suspecting
compare the fate of
heeded no claim of the world and
men who
who made music by which
these
remembered, compare
it
ductors,
Then
excrescences
all.
know Bartok
met him
personally?
at least twice in
life
my
once in London
However,
stances of actual
82
me
as
LS. No. In
am
fact, I
late
Verdi
Music)?
struck
by the
force, especially in
logues seems to
me more
is
schoolso
Verdi's originality
pure;
gift
itself is the
Rigoletto to Falstaf, to
name
best
R.C.
Do you now
I.S.
Strauss?
would
like to
admit
all
me want
op
He
83
music than he
Gustav Mahler.
and
knew this
fine
poet
in Paris, and, I
for
the
last
at
time
the
Berlin
believe,
premiere of
my
librettist well,
to greet
culture
extraordinary place
pleased to think him still good. His Notebooks
are one of my most treasured books.
1922)
And
in spite of
my
predisposition in favor of
know much
only work
but Goldoni
interests
me more
than
When
DYLAN THOMAS
R.C. What was the subject of the "opera" you had planned
to write with Dylan Thomas?
I.S. I don't think you can say that the
project ever got
as far as
beautiful idea.
I first
New
an
Coming
one
Auden
excused
himself, saying
day,
appointment
he had been busy helping to extricate an English poet
from some sort of difficulty. He told me about Dylan
Thomas. I read him after that, and in Urbana in the
winter of 1950 my wife went to hear him read. Two
late to
it
as well as pieces of
arias
me
Mm
knew the
He was
His face and skin had the color and swelling of too
shorter man than I expected
from his portraits, not more than five feet five or six,
with a large, protuberant behind and belly. His nose
was a red bulb, and his eyes were glazed. He drank a
glass of whiskey with me, which made him more at
ease, though he kept worrying about his wife saying
he had
late."
to hurry
He talked
home
to
to
me
first
Wales "or
it
would be too
He
He
87
Mm
word
New York
and asked
Hollywood. I
him announcing the hour
expected a telegram from
November
On
of his airplane.
9 the telegram came.
do was cry.
could
I
All
It said he was dead.
for
88
soon.
a gun.
I should very much like if you think you would still
like me to work with you; and I'd be enormously honoured
Thank you
wife and
my
regards to your
Yours sincerely,
DTOAN THOMAS
*
Of Boston
University.
89
00
THE BOAT HOUSE, LAUGHARNE
CARMARTHENSHIRE, WALES
September 22, 1953
be
in
tell
hope it will work out all right. Maybe 111 be able to give
a few other
readings or rantings in California to help pay
expenses. (I'd relied on drawing my travelling expenses
90
is for me to
get to you as soon as possible, so that we
can begin well, so that we can begin, whatever it will turn
out to be. IVe been thinking an awful lot about it.
I was so sorry to hear that you had been laid up for so
I know,
long; I
fine
If
hope you're
now and
My arm's
to
my
and
Most
sincerely,
DYLAN THOMAS
3:
my
large
man.
He
occupied the
hand
We
way
9*
About
My
Life
Persia
We
Dostoievsky became in
my mind
Incidentally, I
sky or Tolstoy,
am a Dostoievskyan.
l.S.
We
We
93
you?
I.S.
saw rather a lot of him just before the 1914 war, but
Diaghilev had known him before me; he was a great
enthusiast of our Russian Ballet I met him for the
first
time in Paris at
of the
raised
About
My
Life
still
many
Italian
homes
still
H.C. You
I.S.
in
Rome
World War.
there in
Diaghilev had organized a benefit concert
I
from
Petroushka.
the
Suite
which I conducted
confess I
was more
interested in
him because
of his
fame than because of his art, for I did not share the
enthusiasm of his numerous and serious admirers. I
met him again, sometime later, at one of our ballet
performances in Paris.
though
He
greeted
me
kindly, as
at that mo-
ment
reached
down
surtout,
and
Russe program through a pincenez while people waited impatiently for the great old
artist to stand up as they
passed in his row not know
it was he. It has been said that Rodin drew a
ing
sketch of me. To the best of my knowledge that is not
so.
Perhaps the author of that information was con
fusing him with Bonnard who did, in fact, make a
sat reading a Ballet
with
all
of
my
me
portrait of you?
Yes. I don't remember the circumstances
very clearly
but I visited him in company with Leon Bakst in 1912
portrait of
me by
96
About
R.C.
I.S.
My
Life
Arts
and
1923
of course
as
New York).
as
good
Museum
of
any art
of the period, I
go
E.G.
I.S.
me.
Sometimes
by
fire.
97
Water
Lilies
R.C,
I.S.
often in your
company the
year before his death. How do you remember him?
I saw him almost
every day of 1922 that I spent in
Paris. He was a silent
youth with a serene, rather
childlike look,
him
in
too.
He was
of
medium
build,
handsome
man
ners.
I
appeared.
S.D.:
I.S,:
"Quest ce que
"Tu Fenvies?"
c'est
He
immediately struck
he
also
me
and
that
grieved.
About
My
Life
Most
my
from
rectly
the evening.
He was
judgment but a
literary pose.
music.
Now,
I
thirty-five years later,
have a great
and
Un
Klee's portrait
drawing of
memory.
99
me
and
I will always
homme de choix.
remem
I felt I
air."
The
China, of pagodas."
memory
of
contempo
raries
tivism
and laughed
peo
He was
States
when we talked
100
About
My
Life
R.C.
I.S.
How
came "because
did Giacometti
of
my
come
to
but
there,
trans
extravagant gestures/*
make
his
drawings of
you?
He had done five or six designs from photographs
before he saw me and he didn't like them. Then,
sitting a few feet from me, he did a whole series,
working very fast with only a few minutes of actual
drawing for each one. He says that in sculpture also
he accomplishes the final product very quickly, but
does the sometimes hundreds of discarded prepara
tory ones slowly over long periods of time. He drew
with a very hard lead, smudging the lines with erasers
He was
i.e.,
favorite topic
and
"Sculpture
it
is
means
is
that
to
be
is
rial
102
Do you remember
and
when
that
Balla
came out
bow
to
there
was no
made
design a
I
set.
made
fast friends
with him
him
one hears
street noises in a
New
Hollywood
is
to these
hills,
103
except that
it
was
easier
my
room emitted
like the
he once gave
overture and
104
About
My
Life
windows on
act
we
came from
at their
own pose
of artist-contra-Gentiles. Marinetti
at
of very nice,
noisy Vespas.
him
Diaghilev.
The row
nations.
105
And
Roerich's costumes
were
said to
have been
and
I often
at Mitusov's
and of
his curious
came
to Paris for
attention
and,
Le
Sacre, but
after
slighted, I think
again.
R.C.
Was Henri
Chant du Rossignol
I.S.
sets?
Rue de
sets, as
of the
la Boetie.
you
Chant du Rossignol
106
liked
About
My
all
over it*
first
Fire
bird?
I.S.
All I
am
certain that
if I
were trans
would find
own
painter
tillist.
107
I.S.
first
"Now, Lev
meant
from
etc.,
but I
Venetian
nose.
Like
other
dandies
Bakst
was
comedy-mask
sensitive and privately mysterious. Roerich told me
that "Bakst" was a Jewish word meaning 'little um
brella." Roerich said he discovered this one
day in
to detract
his
None
Paris
on
my first trip
saw the
all
ago.
108
About
My
Life
In
fact, it
much
are so
piece. In fact,
Bakst.
he liked
my Petroushka,
work
I collaborated
way
before
Rome
in 1911
when
was
finishing FetrousKka.
Italia
la
the
RenardP
drawer/*
wept
(it
was very
no
huge man
About
My
Life
was Derain,
in
him more
Ms
than
pictures, in fact,
who wanted
to
Now
like to
would also
some other artists,
record
my
associations with
Ballet.
I think, for
had
this
he in
war
was
Prex, which is
children
from our Morges house to his in St.
my
Prex. He was always hospitable, and his studio was a
little island of Russian color that
delighted my
St.
with
children.
saw
About
My
Life
him
Hindenburg complains
Liebennann of his inability to draw von
Hindenburg's
features, whereupon Liebermann exclaims: "Ich kann
den Alten in den Schnee pissen." As you know, it was
Liebermann who nominated me to the Prussian
Academy.
Jacques-Emile Blanche was another friend of my
early Diaghilev years. He painted two portraits of me
that are now in the
Luxembourg. I remember sitting
for him, and how he drew
my head and features only
after a great amount of
modeling, while everything
the
and
the
else,
body
background, was added in
absentia. This meant that one's
legs might turn out too
and
one's
middle
too
long
capacious, or that one might
find oneself promenading on the beach at Deauville,
as I am made to do in one of my portraits. However,
Blanche's faces were usually accurately characterized,
and that was the important thing. Blanche was a fine
mouche for celebrities; he came to make my portrait
we had
ing of aU
my ballets.
but I
first
met him
in
New
York.
My
wife,
hardly spoke
mentioning her. (I now remember that Lipnitsky, the
photographer, was there and made several photo
graphs of us together, but I have never seen them.)
Two or three years later Chagall was asked to do
stage
114
About
My
Life
me
as a
memento
of our collaboration.
Cocteau
nuances de
Constantine
Brancusi;
gris");
Braque (who gave
valuable and kind advice to my painter son, The
said: "Marie, tu as invente les
however, and his set for that ballet was very far from
I had in mind); Christian Berard; and Georges
Rouault (with whom my wife worked designing the
what
R.C.
I.S.
met
in Paris
when
I arrived there in
legally 'Serts').
1910 (though
a great
He knew
people/*
getting
ballet
sets
big, black-bearded
Picasso's
backdrop for
yellow had been renewed, in part, by a cat. Diaghilev, I suppose, was in debt to the Director of the
Opera, and
when
our
company withdrew
after the
Vollard at
know him
until 1917,
about 1910,
when we were
manner
flat,
un-
of speaking
About
My
Life
as a
mutual
Olga
We
word
had under
Neapolitan
both arrested one night for urinating against a wall
of the Galleria. I asked the policeman to take us across
the street to the San Carlo Opera to find someone to
vouch for us. The policeman granted our request.
117
Pulcinella
118
V'v.
Venice, 1925.
New York.
The
of
Mme.
Stravinsky's
first
New
York
showing, 1957.
at the
Church
Records Photo)
September, 1956, (Columbia
of
mti'^f^
"')#
'^;
4:
say that
critics are in
competent?
I.S.
or
critic praises or
ill
performed?
mean
to
you?
nothing.
art
is
but
120
and
exploitation*
Would you
explain?
ways
that
we
It is
one
in-
When
conception of
"is
exist
its
I.S.
The
been supplanted, to
my mind, by the
and
their
The
part of
JR.C.
I.S.
its
in the
domain of rhythm
movement of Le marteau
sans maitre are an important innovation. In this move
ment the beat is accelerated or retarded to basic fast
ing of rhythm
or slow
in the central
indications en route
of exactly the
speed one should be traveling. This
amounts to controlled retard and accelerando. Used
systematically, as in the Marteau, where you are
never in a tempo but always
going to one, these
controls are able to effect a new and
wonderfully sup
cadenzas
in
Stock-
R.C.
I.S.
it
was
written.
Do you know
definition; it
has come to
mean
too
design which
isn't
instruments, that habit has already reached a reductio ad dbsurdum. Looking at a ridiculously diffi
it was
really the map of an idea
had begun not in musical composition but before
it I was reminded of a Russian band I knew in my
childhood. This band was made up of twelve openthat is, valveless horns. Each horn had one note to
play and together they could produce the chromatic
scale. They would practice hours and hours in order to
that
123
guide.
124
ELECTRONIC MUSIC
KC. Do you have an opinion about electronic music?
IS. I think that the matiere is limited; more
exactly, the
composers have demonstrated but a very limited
matiere in all the examples of electronic music I have
heard. This
is
manner
of
What
is
KC. In
interests
me
far
"score.**
be introduced
The problem
is
that
now besets
puter
it
Some composers
are inclined to
it
its
does, even
worst,
we
if
lis
computing game).
turn the problem
my
Also, I think
every
thing so minutely and then leave the ultimate shape
of the piece to a performer (while
pretending that
all
been allowed
for).
who
own
ears or
not music.
understanding. This
on principle
directly with their
hail
is
musical
politics,
126
why
and
fifty
less of it.
R.C.
LS. Friends
who
attended the
Contemporary Music
Warsaw Conference
127
of
my
music was
execution that
The
style of
These
ago.
my music
difficulties
certainly
It is the
its
128
The
repertoire is a few
nineteenth-century ballets. These and sentimental,
realist, Technicolor Kitsch are all the Soviets do.
Its
dancers.
good choreographers
since.
<c
say,
(some of
it,
way
that
is,
taking place in
129
entirely of
my own
liable
ductor.
sities.
music.
130
JAZZ
R.C. What
I.S.
is
making.
nothing
with composed music and when it seeks to be in
fluenced by contemporary music it isn't
jazz and it
isn't
piano;
too hybrid, and besides most of
the players have just discovered Debussy) function as
a central heating system. They must keep the tem
that instrument
is
mental,
come
ers's
or,
The
come from the instruments. Shorty Rogtrumpet playing is an example of what I mean
after,
by instrumental
first
on
to
fingers, "trills" on one note, for example,
a B-flat instrument (between open and first-and-third
fingers), etc.
As an example of what
listen to
I know depresses
the counteraction of Equanil in about
five. Has jazz influenced me? Jazz patterns and es
pecially jazz instrumental combinations did influence
me beyond
me
jam. As
but
nity, as
it is
in the
rare best,
certainly the best musical entertain
ment in the U.S.
its
it is
pky
this
me
to use
it
in
ThrenL
last
music?
I.S.
I think
tempo.
R.C.
that a good
must necessarily
of
unique tempo (pulsation): the variety
are not very
often
who
from
comes
performers
tempi
familiar with the opposition they perform or feel a
possess
its
it In the case of
personal interest in interpreting
if there is any uncertainty in
famous
melody,
Haydn's
of its
music
I.S.
is
more
difficult to kill
by misperfoimance than
a "romantic" piece?
depends, of course, on what we decide to mean by
those divisions and also on the kinds and degrees of
misperformance. Let us take refuge in examples, con
It
temporary ones, preferably. My Agon and Berg's Kammerkonzert divide, I should think, on most of the
characteristic issues we imagine to determine those
categories.
mood
strongly on mood or
dominates the whole, the
relate, the
fect**
fluctuations in
itself
of a
"romantic" piece.
It is
are
made
part
we do
him
But does
not
for his
I
am
fit the
contrary?
the
of
Perhaps, though
question
degree is important,
for the characteristics of each
category apply at some
point to both. For example, when a conductor has
all
mined a piece
sense of "freedom"
and "mood,"
let
him not
tell
me
is the
principal item.
survive almost anything but
Tempo
you
my
also
my
why
3'
land of "interpretation'
would
like to
know
is
diction.
Nuance
insteadof
F
in certain cases, depending on the style. I have also
labored to teach them to accent syncopated notes
and
to phrase before
136
much
far.
He
less subdivisions of
must be studied
in schools, even
if
only as exercises
in reading.
Myself as a conductor? Well, reviewers
have cer
me
my
my
my
tea one
story of his,
on himself tall,
he pondered the
gait;
reflected
arts.
When my
wife
have written
KC. Do you
its title
should try
agree that perhaps the composer
For
more
to notate "style"
example, in the
precisely?
inale of your Octuor, die bassoons play eighth notes
137
it
by
rests?
it is
all
those flags!
texture, dynamics,
etc.
R.C.
Which
of your recorded
performances
I cannot evaluate
prefer;
do you
definitive?
new works
to
them. However, a
composer
138
have time
is
to
not as easily
satisfied
is
when
one
be accepted
public
is often extremely
"performance" applied to recording
of "performing" a piece, the
Instead
euphemistic.
He records accord
recording artist "breaks it down."
Thus Haydn's
the
orchestra.
ing to the size (cost) of
Farewell Symphony would be recorded from the be
but Bolero would be done
ginning to the end in order;
were sectionally divisible.
it
if
backwards, so to speak,
Another problem is that the orchestra is seated ac
(No
140
services,
without the
Music
is
Him
praises
disappears
in sacred
"emotional
range" or "Variety"
comparing
and secular music. The music of the nineteenth and
spirit
twentieth centuries
it is all
141
secular
is
"expressively"
the
mean by
it
to distinguish
between
religious-religious
"tabrets
refers to his
"noise of his
the cosmos.**
"It has been
corrupted by musicians," is the
Church's answer, the Church, whose musical
history
is a series of attacks
the true mu
against
polyphony,
Christendom, until music
eighteenth century or confounds
with the theater. The corrupting musicians Bosch
Must one be a
believer to
143
Wind
with
realistic
judgments of music. This is as it should
But in any case they could not have followed the
twenty years of their immediate forebears, they had
to find new antecedents. A
change in direction does
be.
not
out-of-influence
is
worthless,
how
But
in
music advance
is
only in the sense of develop
ing the instrument of the language we are able to
do new things in rhythm, in sound, in structure.
We
144
its
It may never
appear
partisan contempo
raries, of course,
begins
composer
one who rifles his predecessors and each other and
then arranges the theft in a new "style") The music of
Schoenberg, Berg, and Webern in the twenties was
considered extremely iconoclastic at that time but
the composers now appear to have used musical form
as I did, "historically." My use of it was overt, how
ever, and theirs elaborately disguised. (Take, for ex
ample, the Rondo of Webem's Trio; the music is won
derfully interesting but no one hears it as a Rondo.)
We all explored and discovered new music in the
twenties, of course, but we attached it to the very
tradition we were so busily outgrowing a decade
.
before.
numer
ous to distinguish, Italian madrigals even more numer
ous, Schiitz sinfoniae sacrae pieces, and masses by
others. Haydn
Josquin, Ockeghem, Obrecht, and
light. I also
too
sona
quartets and symphonies, Beethoven quartets,
like
the
Second,
tas, and especially symphonies
Fourth, and Eighth, are sometimes wholly fresh and
145
first
are a decline
is
alien to
People
will
who do
wonder
at
not share
my
my
attitude.
So
Webem
is
me
art.
is
not aware of
"What
Webem. He
asks ques
sort of
146
I.S.
tical sense I
was only a
English). However,
all
different pronunciation of
in this sense
is
the
word
**harmony**
And
Of
course
mathematics.
monic hearing
dinary listener
He
hears
all
of the notes
struc
acoustically but cannot analyze their harmonic
ture. The reason is, of course, that this music isn't
hear.
ficult to
polyphony
148
polyph
ony the singers knew where they were in relation
to each other which shows how good their
rhythmic
training must have been (to maintain such independ
ence).
R.C.
How
I.S.
Webern was
why/'
It obliges
summons him
An example
of the kind of
quickly to p, where
it
mp
clarinet
indicated in
Instrumentsbut
ther. I
my
altogether. Perhaps
experience as a performer
has persuaded me that circumstances are so differ
150
And infinitely
subtle gradu
My
Webern.
R.C. Will you make any prediction about the "music of the
future?"
I.S.
73 or 200)
fied (kaleidoscopic
sonalities,
to soothe both
will very
present": for the
mostly
it
Rachmaninov.
KC. Do you
LS. Nothing
whether
of all
likely about masterpieces, least
master
there will be any. Nevertheless, a
is
serial at present,
development of
it
we do
who fails
to take account of
music
will
be
serial.
15*
seems to
me
the
new
I.S.
that
too,
Americans
However pleas
especially, against university teaching.
ant and profitable to teach counterpoint at a rich
am
Smith or Vassar, I
American Gymnasium
like
is
anyway. The
point
is,
or professional
produce ... a
may
knows what he
will do.
new
"experimental"
any
other.
it
behooves
far
you not
to
can
go,*"
composers
new
thing
come?
155
INDEX
(S) Stands for Stravinsky
Abeittes,
Agon
134,
MS
Berlioz, 27,
Blanche,
Ansermet, Ernest, 58
Bluebird,
us,
Danse
(de
Boris
W,
Bach,
J. S.,
S),
MS
no,
46
Borodin, 43
Braque, 115
Brumel, Antoine, 142
Busoni, 99, 121-22
77
Cage, The
(ballet,
Stravinsky
Boulez, Pierre, 23, 31-32, 146,
147, 148
Boutique Fantasque, La
Rossini-Respighi), 112
Brahms, 27, 43-44, 78
in
two
Godunov (Moussorgsky),
47
(Maeterlinck),
55
Augenlicht,
du Printemps,
113
The
(Strauss),
33
Auden,
J.-E.,
41
Blue Facade (Mondiian), 16
Boccioni, 103, 105
Bocklin, Arnold, 84
Boh&me, La (Puccini), 68
144,
145
Apologie de
Lauze), 19
28
(ballet, S),
40
Caldara, 84-85
Canova, 102
Cantata (S), 150
156
Index
Capriccio (S), 77
Carra, Carlo, 103, 105
Debussy, Emma-Claude, 52
69
n.
Chagall, 114-15
Chaliapin, 66-67
Chant du Rossignol, Le
106; see also Nightingale,
Chinese
72
(in
(S),
Derain,
The
Deux
The
Night
(Milan
103,
107,
108,
(philosopher), 100
Donna, se m'ancidete
aldo),34
Doret, Gustave, 58
Dostoievsky, 93
31-3*
Duo
Croce, Giovanni, 85
Cui, Cesar, 43, 46
Einstein, Albert,
Prin-
(Beethoven),
84
temps,S), 19,21
Dante, 77
et Chloe,
(Josquin),
Concertant, 19, 20
Eight Symphony
28, 145
Dalkpiccola, 136
D'Annunzio, 94-95
(Gesu-
^3
En
blanc
52
72
Dargomizhsky, 46
project (Cocteau and S),
61 n.
David
106,
66,
136-37
Daphnis
105,
n.,
Cipriano da Rore, 85
Claudel, 41
Cocteau, 61 n., 96 n., 98, 108,
Cohen
9S
11112
n.
Pirates,
n.,
56,59
et
noir
(Debussy),
n.
157
Index
Goncharova (wife of Larionov),
83
Falstaff (Verdi),
Farewell Symphony
ill
(Haydn),
Gromyko, Andrei, 97
Gruppen (Stockhausen), 123
Guillaume, Georges, 96 n.
139
Faune
26
et Bergere (S),
Fils Prodigue*
fiev),
Le
(ballet,
n.,
40
Proko
115
The
Firebird,
Five
Pieces
Orchestra
for
(Schoenberg), 79
Flight of the Bumble Bee (Rimsky-Korsakov) 40, 41 n.
Fontanelli, Count Alfonso, 34
Franck, C<sar, 79
,
Von
(author of Bees,
their Chemical Sense and Lan
Fritsch,
guage), 40
Adolph, 115
Fiirstner,
Gabrieli, Giovanni,
85
Galuppi, 84
Gesang der Jilnglinge
hausen), 125
Gesualdo,
Handel, 78
(Stock-
Heidegger, 100
Herbert, George, 136
Herzgetodchse (Schoenberg), 79
Histoire
du
94
lelatchich, Alexander,
Is Another World
3334
Giacometti, 101-2
Gilbert and Sullivan,
44
Watching?
(Heard), 40
35
Islamey (Balakirev), 38
Glazunov, 37-38, 46
Gleizes, Albert,
113
Jacob, Max, 96 n.
Glinka, 45-46
Gloria Patri (from Monteverdi's
Vespers), 21
GlilcJdiche
GodebsM
Ladder
(Schoenberg),
78
Jawlensky, Alexis, 112
family,
Jacob's
71
Goethe, 58-59
Gogol, 68
Goldoni, 85
Golovine, 107
Golubev, Mme., 94
Kafka, 78
Kahn, Otto, 111
Kammerkonzert (Berg), 80, 134
Kandinsky,
158
99100
Index
Khovanshchina (S and Ravel),
66-67
(Mo
JQreievsky, 48-49
Klee, Paul, 31, 75, 99, 102
Koussevitzky, 56, 57
148
Mass
Krenek, 154
Massine, 117
Laloy, Lotus, 52
Lamentations, see Threni
Larionov,
no,
Matisse, 106-7
Mavra
111, 114
Lassus, 141
Pueri
Laudate
(from
verdi's Vespers) 3
Monte
21
Legend
of
Joseph
Strauss), 83,
78
(ballet,
R.
116
Liapunov, 46
Liebermann, Max, 112-13
(Glinka),
Lipnitsky, 114
Liszt, 15, 44,
46
Le (Sche-
rer),32
Loewe, 78
Lulu (Berg), 30, 80, 142
94-95
Maeterlinck, 40-41
Mallarm6, 31-32
Manet, 116
Manfred (Tchaikovsky), 39
Marcello, Benedetto, 84
Mariinsky Theater,
Monteverdi, 21, 85
37
Livre de Mallarme',
Modigliani, 96
L6ger, 113-14
Mayakovsky, 97-98
Mendelssohn, 41 n.
Mersenne, Mavin, 19
Micheaux, Henri, 24
Mir Isskoustva, 107, 112
Mitusov, S. N., 106
Modern Psalms (Schoenberg),
St.
burg, 37
Marinetti, 103, 104, 105
Peters
no
Nikisch, 38
Nikolsky,
45
159
Index
Notebooks (vonHofmannsthal),
84
Powell, Michael, 86
PrateUa, F. B., 104
63-64
Nuages gris
Prokofiev,
60,
(Liszt),
97
Proust, 98-99
Pulcinella (S), 85, 116, 118
15
36
Purcell,
111, 145
Oeil, L' (periodical),
71
n.
Orpheus (S), 17
Orsini, 34
M5
Othello (Verdi), 83
Ramuz,
Q F., 64, 99
Ravel,
27,
duSoldat, S), 13
Petroushka (S), 50, 51, 52, 62,
64, 76, 81, 95, 109, no, 112
Piano Concerto (S), 18, 23, 144
Piano Piece No. XI (Stockhausen), 126
Piano
G-minor
Quartet,
(Brahms), 27
Piano Sonata (S), 23
Picasso, 96 n., 107, 109, 116-18,
146; Olga, 117
Pieme', G., 108
Pierrot Lunaire
(Schoenberg),
31, 76, 79, 128
Pigalle, 102
in
n.,
87,
66-73;
70,
71
(from L'Histoire
61
29,
(S),
(Wagner), 51
Pergolesi, 85
Persephone (S), 17, 21
Parsifal
Petit Concert
The
Rake's Progress,
no,
no, in,
38
RigoleUo (Verdi), 83
Rimsky-Korsakov, 26
28 n., 38, 39-40, 41
44-45, 46, 66, 67
n.,
n.,
27,
43,
60-65
Riviere, Jacques,
Roi des
fitoiles,
Romeo and
Le
Juliet
(S), 54
(Tchaikov
sky), 26 n.
Rouault, 115
160
Index
28
n.
Stassov,
137, 144
Stein, Gertrude,
Satie, 67,
Scarlatti,
74-75
85
Scheler, 100
n.
96 n.
W,
Septet (S),22
115-16
Shestakova, Ludmilla, 45-46
127
Slauzol, la
Vera de
second
wife);
(Stravinsky's
(Vernon Lee),
84
Survage,
Sylphides, Les
(Ballet music),
40
Seurat, 17
Sibelius,
29-30, 109
Seraphita (Schoenberg), 79
M. and
Catherine,
in
J.
Mme.
Stravinsky,
Schumann, 25
Schiitz, 145
Scriabin, 39-40
Sert,
127
42
146
Stendhal, 25
Soci6t6 de la
Musique
Actuelle,
Symphony
in
Three Movements
(S),29, 135
Symphony of Psalms (S), 36
Szant6,
72
56
Society for Private Performances
(Vienna), 77
Socrate (Satie), 74-75
Some People
(Nicolson), 94
Spectre de la Rose,
Le
(ballet
music by Weber), no
Spent in Alium Nunquam Habui
(Tallis), 148
Tagebilcher (Klee), 31
Tallis, 19,
148
Tchaikovsky, 26
n.,
39, 41 n.,
Index
Three Japanese Lyrics (S), 67,
69,144
Three Pieces for Orchestra, op.6
(Berg), 80-81
Threni (S), 14, 18, 19, 30,
132
n.
(Schoen-
berg),27
Vroubel, 107
Wagner, 26
n., 39,
44, 46, 83
Wallace, Vice-President,
141
Water
Tintoretto, 16
Webem,
Lilies
106
(Monet), 97
Si
13^, 145,
M6,
i47>
M^, M9>
150, 151
(Ravel), 67, 69
VaMry, Paul, 18
Valse, La (Ravel), 70 n.
Variations for Orchestra, op.3i
(Schoenberg), 29, 79
Willaert,
85
With Serov
in Greece (Bakst),
108
Wozzeck (Berg), 80
Verdi, 83
Vespers (Monteverdi), 21
Vie des AbeiUes, La (Maeter
linck),
40-41
Visage Nuptial,
78
Le
(Boulez),
Yeats,
B., 87,
136
Zborovsky, 96 n.
Zeitmasse (Stocldhausen),
n.
Vivaldi,
W.
150
84
Ziloti,
Vollard, 116
162
Alexander, 41 n.
123,
04 573