Review (PDF) The Apollonian Clockwork: On Stravinsky (Amsterdam University Press - Amsterdam Archaeological Studies)
‘I think my music deserves to be considered as a whole’, Igor Stravinsky remarked at the end of a long and restless career, and that is exactly what the authors of The Apollonian Clockwork do. In 1982, convinced that there is no essential difference between ‘early’ and ‘late’ Stravinsky, Louis Andriessen and Elmer Schönberger were the first to write a monograph on the composer which radically breaks with the habit of dividing his works into ‘Russian’, ‘neoclassical’ and ‘serial’. In an essay which continually shifts in its approach, style and perspective, the authors elaborate on their insight that a single, immutable compositional attitude underlies the whole of Stravinsky’s oeuvre. By this token the book not only offers an analysis of the composer’s protean work and artistry but takes example by it as well.
Series: Amsterdam University Press - Amsterdam Archaeological Studies
Paperback: 314 pages
Publisher: Amsterdam University Press (December 15, 2006)
Language: English
ISBN-10: 9053568565
ISBN-13: 978-9053568569
Product Dimensions: 5.8 x 1 x 8.2 inches
Shipping Weight: 1.2 pounds (View shipping rates and policies)
Average Customer Review: 5.0 out of 5 stars See all reviews (2 customer reviews)
Best Sellers Rank: #2,531,440 in Books (See Top 100 in Books) #75 in Books > Humor & Entertainment > Sheet Music & Scores > Composers > Stravinsky #6625 in Books > History > Historical Study & Educational Resources > Archaeology #8035 in Books > Arts & Photography > Music > Musical Genres > Classical
THE APOLLONIAN CLOCKWORK was originally published in the Netherlands in 1983, and the English translation was published in 1989. The authors, Louis Andriessen and Elmer Schonberger, are both Dutch composers (Schonberger is also a musicologist and critic), and are clearly both steeped in and enamoured of Stravinsky:"The authors' decision to collaborate on this book arose not only from a shared love of Stravinsky's music, but from an agreement on a few fundamental points: that there is no essential difference between early and late Stravinsky; that the familiar division of his works into 'Russian', 'neoclassical', and 'serial' periods more often obscures rather than clarifies the music; and that the distinction commonly made between 'arrangements' and 'original compositions' is not pertinent to Stravinsky. What they heard in the music was that all his works have been composed from an immutable musical *mentality*." (xiii)The book, not one linear narrative but rather 45 interconnected essays, vignettes on various aspects of Stravinsky's music, life and context, is "a paradigm of Stravinsky" in its *drobnost* structure (splinteredness -- from Taruskin).Stravinsky's sensibility is captured in a quote from D.C. Muecke's "Irony": "There is yet another feature of irony which appears regularly in discussions of irony. We can choose from among a number of terms: detachment, distance, disengagement, freedom, serenity, objectivity, dispassion, 'lightness', 'play', urbanity.
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