Symphonies of Wind Instruments

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Igor Stravinsky’s ‘Symphonies of Wind Instruments’ premiered in London on June 10th 1921, but did not receive as much appreciation as his previous works because the audience were not acquainted with the astringent form and sonority of the composition. The piece was dedicated to Claude Debussy, who died in 1918, and had been a mentor whom Stravinsky greatly admired – this dedication and tribute to someone no longer alive may account for some of the grave quality threaded intrinsically through it. To audiences familiar with Stravinsky’s combination of Romantic ideals and exotic sounding Russian folk tunes, Symphonies of Wind Instruments was resonant and innovative. The composition had been completed a year prior to its premiere during a time of upheaval in Stravinsky’s personal life, but did the context and complications of his existence reverberate into his music, particularly this piece; and what influence did this have upon the recognition of Stravinsky as a “modern” composer? The beginning of the 1920s was a marked point of renovation for France: there was a radical shift in political power (Republican and parties of the Right gaining more seats in the Senate, and the Socialists losing most of their seats); France had regained the territories of Alsace-Lorraine restoring it as one of the strongholds of the European continent; in essence, the French people were attempting to rid themselves of all the pre-war values. From the beginning of World War One until 1920, Stravinsky had been living in self-imposed exile in Switzerland, but in June he uprooted his entire family to France, initially settling in Brittany for several months. The move to France could be symbolically recognised as his coming out of exile – it is a personal milestone for Stravinsky and his family. Stravinsky’s personal life and musical works are often split into different periods – but many

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