Igor Stravinsky From his earliest childhood until his final years, Igor Stravinsky was closely associated with the piano and was even working on sketches for a piano sonata shortly before his death in 1971. His piano works have often been considered precursors to his more famous orchestral compositions. Stravinsky himself regarded the piano as central to his musical development. Nevertheless, his piano pieces often receive less recognition than major works such as The Rite of Spring or the Symphony of Psalms, even though they represent significant contributions and illustrate his compositional evolution.
The Song of the Volga Boatmen, which Stravinsky arranged for winds and percussion, reflects the rich traditions of an indomitable nation. During his time in Switzerland in World War I, Stravinsky developed a strong longing for his Russian homeland, which he expressed musically through arrangements of childhood legends. For Sergei Diaghilev, he created an arrangement of the Volga melody to replace the Russian national anthem, and he also added a piano arrangement to this version.
Stravinsky was not only a composer and conductor, but also a traveling concert pianist for nearly three decades. His piano compositions, often of unusual and demanding style, were considered technically challenging. To further develop his skills at the piano, he invested a great deal of time in practice. Stravinsky frequently retained the exclusive performance rights to his piano works to prevent other performers from exploiting them too emotionally.
In the famous Octet for Winds from 1923, the clear and concise neoclassical qualities that Stravinsky valued are particularly evident. Immediately afterward, he composed the Concerto for Piano and Winds, which not only highlights the virtuosity of the piano but also reflects Stravinsky's fascination with jazz and ragtime. The work concludes with a touch of French elegance.
The Capriccio for Piano and Orchestra, performed by Stravinsky himself at the piano and conducted by Ernest Ansermet, is another important work from this period. Its lyrical passages, which echo earlier compositions, are characteristic. The Capriccio later became part of the repertoire of the New York City Ballet.
With the serialist piece Movements for Piano and Orchestra, composed in 1959, Stravinsky created one of his most complex works, combining serial techniques with a pointillist orchestration and giving the piano a central role.
The Concerto in D for String Orchestra, commissioned by Paul Sacher for the Basel Chamber Orchestra, demonstrates Stravinsky's exploration of the sonic possibilities of a string ensemble. This three-movement work exemplifies the composer's neoclassical style and reveals its characteristic tension and release.
Finally, the canon based on a Russian folk tune demonstrates Stravinsky's masterful handling of canonical forms – the piece is to be understood as a tribute to his late friend Pierre Monteux.