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This book grew out of the International Stravinsky Symposium and the pa- pers COmn^Sionedfbrit.

The partidpantal' new insights fall into three broad cate- gories.

London, En^and ® 1986 by The Regents of die University of California Printed in the United States of America 123456789 Library of Congress Cataloging in Pubiiaition Data Main entry under title: Confronting Stravinsky. Roger Shattuck, 'The Devil's Dance: Stravinsk/s Corporal Imagination" ^ 6.

David Hockney, "Set Designing for Stravinsky" 89 Theoretical Perspectives 93 7. Kramer, "Discontinuity and Proportion in the Music of Stravinsky" 174 V vi Contents 11 .

The contributors come from Europe, Japan, and through- out the United States. C75 1986 780'.92'4 85-8426 ISBN 0-520-05403-2 (alk.

They include Stravinsky's friends, cultural historians, musicologists, music theorists, and com- posers, as well as the pianolist Rex Lawson and the celebrated artist David Hockney. paper) Copyrighted material Contents List of Illustrations vii Introduction; Issues in Stravinsky Research ix Russian Background 1 1.

Third, there are those that reveal threads of continuity that permeate Stravinsky's entire oeuvre.

Babbitt writes that Stravinsky's sense of historical position never burdened him, never obliged him to manufacture a history of music (both past and present) to which he could define his oim rdation in the most favoiabte way/' Strandn^ of^ only know what the trud\ is for me today."^ This focus on tfie present gave Strovindcy great freedom and independoioe. Akn^ with Elmer Sdidnberger and Louis Andriessen, Glenn Watkins points to how the tradition of canon served as an important general model for Stravinsky, especially in his late works.Charles Wuorinen and Jeffrey Kresky, "On the Significance of Stravinsky's Last Works" 262 Currents and Contemporaries 271 16. Although his stylistic metamorphoses resulted in one of the most varied and important Indies of work in this centuiy^ ttiey fnesented a continual challenge to his contemporaries and forced critics to come to grips with eveivshifting conceptual issues.Takashi Funayama, "Three Japanese Lyrics and Japonisme" 273 17. Boris Schwarz, "Stravinsky, Pushkin, and the Violin" 302 19. Given on the one hand Stravinsky's unchanging prominence in twentieth-century culture and on the other new perspectives that ha\ e developed in recent years, we should not be surprised that the critical re-e\ aluation of Stravinsky's work continues.Leonard Stein, "Schoenberg and 'Kleine Modernsky' " 310 Personal Portraits from the California Years 325 20. Lawrence Morton, "Stravinsky at Home" 332 Appendix 349 Selected Source Material from "A Catalogue of Books and Music Inscribed to and/or Autographed and Annotated by Igor Stravinsky" r OMT ANl Nn TATFD RY RORFRT r RAFT Acknowledgments 359 Notes on Contributors 362 Index 367 Cc Illustrations Figuies Fiontis: Igor Stravinsky. In order to examine current trends in Stravinsky scholarship and open new avenues of research, numerous Stravinsky Mends and scholars convened at the httemational Stravinsky Symposium, the first of its scope ever held, on 10-14 September 19K2 at tiie University of California, San Diego.As its divedor, I con* ceived of die symposium as a gathering tfuit would be both international and interdisciplinarv' — Stravinsky scholars have too long been isolated from one an- other by the boundaries of geography or discipline.

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