「Stravinsky」の共起表現一覧(2語左で並び替え)
該当件数 : 124件
| gglers Diaghilev had borrowed from a circus" | Stravinsky regretted Chagall's refusal of a commission |
| Asked by Robert Craft about this, | Stravinsky said "The voices are not always in rhythmic |
| In 1983 Sacher acquired the | Stravinsky estate. |
| s featured in the movie Coco Chanel and Igor | Stravinsky. |
| he studied under Nadia Boulanger and Soulima | Stravinsky before emigrating to Canada in 1949. |
| , Mstislav Rostropovich, Erna Sack, and Igor | Stravinsky. |
| Davis, John Gielgud, Johnny Mathis and Igor | Stravinsky. |
| k of Claude Debussy, Maurice Ravel, and Igor | Stravinsky. |
| mskaya-Korsakova (Fyokla Ivanovna), and Gury | Stravinsky as Stepan. |
| , Darius Milhaud, Hans Werner Henze and Igor | Stravinsky. |
| Weburn, Kurt Weill, Duke Ellington and Igor | Stravinsky performed by Douglas, Mark Feldman, Erik Fri |
| unds of Claude Debussy, Steve Reich and Igor | Stravinsky. |
| rgei Prokofiev, Sergei Rachmaninoff and Igor | Stravinsky and conductors such as Arturo Toscanini and |
| ra which earned a grammy nomination, and the | Stravinsky Violin Concerto with the Philharmonia Orches |
| limate dominated by emotion, drama, and ego, | Stravinsky was moving towards a musical philosophy that |
| Mads Mikkelsen as Igor | Stravinsky |
| soon attracted other composers such as Igor | Stravinsky, Max Reger, Maurice Ravel, and Paul Hindemit |
| lly suggestive or savage, such as Hindemith, | Stravinsky and the like, were denounced as "degenerate" |
| of 80 major works by composers such as Igor | Stravinsky, William Walton, Ralph Vaughan Williams, Dmi |
| dom, inspired by avant-gardists such as Igor | Stravinsky, Paul Hindemith, Bela Bartok, and composers |
| lists his early classical influences as Igor | Stravinsky, Anton Webern, Pierre Boulez and the America |
| e piano part of Petrushka under the baton of | Stravinsky. |
| rnstein, Brahms, Schumann, Beethoven, Liszt, | Stravinsky, Grieg and Rachmaninoff (7CD Set) (NI 1748) |
| of Samuel L. Clemens, Johannes Brahms, Igor | Stravinsky, George Gershwin, Jerome Kern, and Admiral B |
| untess) to modern works by Berg, Britten and | Stravinsky. |
| Mass by Igor | Stravinsky |
| iccio for Piano and Orchestra (1929) by Igor | Stravinsky. |
| ra is a one-act opera buffa composed by Igor | Stravinsky, and one of the earliest works of Stravinsky |
| Massine to eponymous music from 1943 by Igor | Stravinsky. |
| ntly had a concerto written for him, by Igor | Stravinsky, so Prokofiev did the same for Soetens. |
| dding; Russian: Свадебка (Svadebka)) by Igor | Stravinsky, is a dance cantata, or ballet with vocalist |
| he 1911 Version) originally composed by Igor | Stravinsky, arranged for 5 pianos; performed by the 5 B |
| Canticles is a 15 minute composition by Igor | Stravinsky, for contralto and bass soli, chorus, and or |
| allet for twelve dancers, with music by Igor | Stravinsky and choreography by George Balanchine. |
| r, Op. 1, is the first work composed by Igor | Stravinsky during his apprenticeship with Nikolai Rimsk |
| pour piano et orchestre) was written by Igor | Stravinsky in Nice between 1926 and 1929. |
| A similar fairy tale was also used by Igor | Stravinsky (Rimsky-Korsakov's pupil) and Vaslav Nijinsk |
| George Balanchine to eponymous music by Igor | Stravinsky composed in honor of the 400th birthday of D |
| ard Game) is a ballet in three deals by Igor | Stravinsky, composed in 1936-37, with the story by the |
| is reminiscent of The Rite of Spring by Igor | Stravinsky. |
| aks 8-v-1938,” is a chamber concerto by Igor | Stravinsky, named for the Dumbarton Oaks estate of Robe |
| Tavener's early music was influenced by Igor | Stravinsky, often invoking the sound world of the Requi |
| master, to eponymous music from 1947 by Igor | Stravinsky, his frequent collaborator, with sets and co |
| He starred in the world premiere of | Stravinsky's "Rake's Progress" in Europe, before Caldwe |
| group and was its main composer, citing Igor | Stravinsky as his main influence. |
| is a ballet made for New York City Ballet's | Stravinsky Festival by balletmaster Jerome Robbins to e |
| 23, 1972, as part of New York City Ballet's | Stravinsky Festival at the New York State Theater, Linc |
| June 22, 1972, as part of the City Ballet's | Stravinsky Festival at the New York State Theater, Linc |
| premiere took place as part of City Ballet's | Stravinsky Festival, June 20th, 1972, at the New York S |
| 23, 1972, as part of New York City Ballet's | Stravinsky Festival at the New York State Theater, Linc |
| t was first awarded in 1959 to composer Igor | Stravinsky. |
| Stravinsky's misfortunes apart, the Symphony in C had b | |
| 's Progress (conducted by the composer, Igor | Stravinsky, for Columbia, 1953), and Beethoven's Missa |
| ecording of Symphony of Psalms, conducted by | Stravinsky, was nominated in 1965 for a Grammy Award. |
| dow, is from London 1964 and is conducted by | Stravinsky himself. |
| of composers such as Schoenberg, Debussy and | Stravinsky. |
| ty was Venice, so much so that Diaghilev and | Stravinsky selected it as the place of their burial. |
| o Brahms and Schumann, from Ravel, Elgar and | Stravinsky, to Messiaen, Takemitsu and Maxwell Davies. |
| White, Eric Walter, | Stravinsky: The Man and His Works (Berkeley and Los Ang |
| a solo created for Lukas Foss' A Festival of | Stravinsky: His Heritage and His Legacy, which also inc |
| eachers Leonardo Balada and George Rochberg, | Stravinsky, medieval music, Tudor church music, bebop, |
| Adorno had included | Stravinsky among the targets of his anti-Gebrauchsmusik |
| with Hans Keller): ' | Stravinsky at Rehearsal' (1962; published in Germany as |
| (with Hans Keller): | Stravinsky Seen and Heard (Toccata Press, 1982; ISBN 0- |
| off, Vladimir Horowitz, Jascha Heifetz, Igor | Stravinsky, Artur Schnabel, Isaac Stern and Marian Ande |
| artet, Nadia Boulanger, Paul Hindemith, Igor | Stravinsky, Boris Blacher and Georges Enescu. |
| In his book | Stravinsky and the Russian Traditions, Richard Taruskin |
| material is based on a rhythm identified by | Stravinsky in earlier works (such as The Firebird and T |
| and only rediscovered and published in 1933; | Stravinsky alerted Balanchine to the existence of the s |
| gration to Los Angeles, California, in 1939, | Stravinsky continued to work within the neo-classical f |
| opher Jacques Maritain and was introduced to | Stravinsky by Vera Sudeykina. |
| Hortense Lyon, La Fontaine | Stravinsky, pg. 12 |
| Works by young composers like Igor | Stravinsky and Gustav Mahler were performed here, but a |
| ordings of the music of Bruckner, Mahler and | Stravinsky. |
| amm, Byrnell Figler, Roy McAllister, Soulima | Stravinsky and Sophia Rosoff. |
| roduced Szymanowski, and where Paul met Igor | Stravinsky. |
| kishvili - No. 1, 2, 4; Tchaikovsky - No. 1; | Stravinsky - Concerto for Piano and Wind Instruments; |
| 1971 Epitaph, Canon in Memory of Igor | Stravinsky for flute, clarinet & harp |
| Samuel Barber, and the earlier works of Igor | Stravinsky. |
| ucted the first performance of Mavra of Igor | Stravinsky. |
| The score reveals the influence of Igor | Stravinsky, including a quotation of a motif from Petru |
| ston's work, and shows the influence of Igor | Stravinsky (Yardley 1990). |
| She recorded songs of Igor | Stravinsky, Pastorale for soprano, oboe, English horn, |
| was built in 1962, hosting the likes of Igor | Stravinsky and Aaron Copland, although the school of mu |
| While composing The Rite of Spring, | Stravinsky acknowledged that Schmitt's ballet gave him |
| r George Balanchine for opening night of its | Stravinsky Festival to the composers's eponymous sympho |
| chamber music, courses on the music of Igor | Stravinsky and Arnold Schoenberg, conducting. |
| ce from both hard rock and the works of Igor | Stravinsky (one of Andriessen's favorite composers). |
| they play unheard-of interpretations of Igor | Stravinsky, the German electronic pioneers Kraftwerk or |
| It is somewhat modified on the | Stravinsky conducts Stravinsky recording; a more though |
| ered by the Chicago Symphony Orchestra under | Stravinsky on November 7, 1940. |
| the Old Slavonic words "Gospedi Pamili", and | Stravinsky regarded this as his personal prayer to the |
| ubinstein, who attended the performance with | Stravinsky, laughter broke out during the bassoon segme |
| orth, a programme of Schumann, Piazzolla and | Stravinsky with Symphonieorchester Vorarlberg, Shostako |
| ts one of only a handful of extant pieces by | Stravinsky that was not commissioned. |
| to a catalogue of breadwinning pieces which | Stravinsky composed to support himself after fleeing th |
| Material is drawn from projects that | Stravinsky had abandoned or reorganized. |
| e also includes works by Maurice Ravel, Igor | Stravinsky, and Giuseppe Verdi, among others. |
| at times, Gustav Mahler, Maurice Ravel, Igor | Stravinsky and Sergei Rachmaninoff to conduct their own |
| oice (amongst these are: Schoenberg, Webern, | Stravinsky, Zappa). |
| d music from Beethoven, Chopin, Schubert and | Stravinsky to Earle Brown and Morton Feldman. |
| er, Schnittke, Schubert, Schumann, Scriabin, | Stravinsky, Taktakishvili, Tchaikovsky and many other c |
| Evgeny Kissin for Scriabin, Medtner, | Stravinsky |
| n students included Alexander Scriabin, Igor | Stravinsky, and Heino Eller. |
| As in the second movement, | Stravinsky includes a popular song (Tchitcher-Yatcher). |
| "Walking Song" is a short Igor | Stravinsky piece that Stearns transcribed for the synth |
| including Mahler, Shostakovich, Tchaikovsky, | Stravinsky, Beethoven, and Strauss, as well as contempo |
| the works of Rachmaninoff, Shostakovich, and | Stravinsky) to him. |
| he musical comments shared between Spies and | Stravinsky were reflected in articles written by Spies |
| ill towards the composer", and subsided when | Stravinsky stood up at the end of the performance to bo |
| many contemporary works by composers such as | Stravinsky, Milhaud, Britten, and took part in the prem |
| , Dvorak, Johann Strauss, to Tchaikovsky and | Stravinsky. |
| ho like Shapero was a member of the "Harvard | Stravinsky school, and considered the latter to be "arg |
| rnational musicians, amongst them Hindemith, | Stravinsky, and Tippett. |
| well as some of those listed, these include | Stravinsky, Rachmaninoff, Frank Martin and less interna |
| g on to do completely different things (Igor | Stravinsky, for example, became involved with primitivi |
| In the title of this piece, | Stravinsky used the word "symphonies" (note the plural |
| English translations are sometimes used, and | Stravinsky used one himself in both the 1934 and 1959 r |
| ly parted company over a feud with Vera, and | Stravinsky seldom afterwards mentioned his existence. |
| ly exponent of the role of Mykola was Fyodor | Stravinsky, father of the composer Igor Stravinsky. |
| sburg (1915-2003) (who had studied with Igor | Stravinsky and Paul Hindemith) and the theater organist |
| or presenting such a chamber-music work, but | Stravinsky later expressed satisfaction with the balanc |
| Benois was a stage designer who worked with | Stravinsky and Diaghilev. |
| sed by critics, nonetheless many years later | Stravinsky could still pride himself in never having be |
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