Igor Stravinsky - Symphony in C [With score]

Composer: Igor Fyodorovich Stravinsky (17 June 1882 – 6 April 1971)
Orchestra: Berliner Philharmoniker
Conductor: Herbert von Karajan
Recorded in: 1969

Symphony in C, written between 1938 and 1940

00:00 - I. Moderato alla breve - Tempo agitato senza troppo accelerare - Tempo 1
11:00 - II. Larghetto concertante - Doppio movimento - Doppio valore
17:27 - III. Allegretto
22:26 - IV. Largo - Tempo giusto, alla breve

Just as Igor Stravinsky's 1930 Symphony of Psalms bears a dual dedication to God and the Boston Symphony Orchestra on its fiftieth anniversary, so does the title-page of the Symphony in C from ten years later, describing the work as having been "composed to the glory of God, [and] dedicated to the Chicago Symphony Orchestra on the occasion of the Fiftieth Anniversary of its existence." The commission had been offered to Stravinsky by Mrs. Robert Woods Bliss on behalf of the Chicago Symphony Orchestra in 1938, but it was not until November of 1940, with Stravinsky conducting, that the Orchestra could give the world premiere of the finished work. For, while the commission was certainly a welcome one, the actual progress of the work was interrupted first by a series of personal tragedies -- the deaths of his wife, daughter and mother, during 1938 and 1939 -- and then, of course, by the outbreak of war in late 1939 that precipitated Stravinsky's emigration to California. The Symphony in C, then, is a composition whose four movements were composed in four different cities and two continents over a span of just under two years.
If the years between 1938 and 1940 were turbulent ones for both Stravinsky and the community of nations around the world, it doesn't show in the work: here is pure music, unruffled by the dynamics of personal emotion and, following Stravinsky's heartfelt beliefs on the subject, making absolutely no pretense at expressing anything except the fundamental drives of a composer struggling to come to grips, really for the first time in his life, with symphonic form. Stravinsky himself felt that there is some stylistic difference between the first half of the work, composed in Paris and Sancellmoz, and the second half, composed in Massachusetts and California, but these distinctions of direction (or perhaps taste) are, after all is said and done, relatively minor, and in performance the Symphony comes across as essentially a very well-unified body of music.
Most of the musical narrative in the first movement, Moderato alla breve, can be traced to one use or another of a single musical idea. This cell, a rising step (either half- or whole-) followed by a falling fourth, finds expression in the very opening bars as a dramatic series of rising B natural octaves that, after a rapid crescendo, complete the motive (by rising to C and then falling back down to G) before the woodwinds take over to give, in slower note values, the whole-step form of the motive (D-E-B). Soon enough, the oboe expounds on the original form at some length over a background of constant eighths in the strings.
In the Larghetto concertante that follows, Stravinsky explores the riches of the orchestra by using a series of more or less solo textures. The Allegretto serves as the Symphony's scherzo; sharp timpani and violin strokes get the movement underway, but the woodwinds quickly take over with music of considerable wit and ingenuity.
A dreary Largo for bassoons, horns, and trombones opens the last movement. After about a minute, however, the tempo guisto alla breve body of the movement breaks in, and soon the three-note motive recurs that defined the first movement. During the coda the winds give this ur-motive a treatment in dense, slowly-moving chords, to which the strings add just one final comment.

[Kowjja]

All 4 of Stravinsky's symphonies are greatly unique and wonderful

[simonkawasaki]

The neoclassical Stravinsky is the period in which we have the largest output. This work is easily one of the best of that era, seeking to present nothing but itself, which is incredibly mature and admirable.

[kraiggrady]

Only Stravinsky would start a Symphony in C with a series of repeated B's. An imaginative artist from the beginning. The same notes as the motif of Beethoven Sym. no 1 but opposite in stress..

[valerieheinderyckx]

Unes des plus belles symphonie du 20 eme siècle.., ❤

[sunnyjim]

Listening to pretty much anything by Stravinsky is like experiencing the aural equivalence of a well orchestrated firework display. Except that Stravinsky does it masterfully, without peer.

[javiermedina]

this guy is so original, great music, really great music.

[charlesmchugh]

I have worshiped at the Stravinsky throne for many years. This symphony is one of the reasons.

[paulamrod]

Boih this symphony and the the symphony in three movements are gorgeous.

[makototoida]

高校生の頃（40年くらい前）、この曲、よく聴いていたけど、
ほんと、この曲はイイわ！　
泣かせるねぇ

[davidrehak]

Igor Sztravinszkij:C-dúr Szimfónia
1.Moderato alla breve - Tempo agitato senza troppo accelerare - Tempo I 00:05
2.Larghetto concertante - Doppio movimento - Doppio valore 11:05
3.Allegretto 17:27
4.Largo - Tempo giusto, alla breve 22:26
Berlini Filharmonikus Zenekar
Vezényel:Herbert von Karajan

[cobblestonegenerator]

That amazing restatment at the very end where he brings back the first theme of the symphony just about makes me cry. So perfect. Thank you so much for the score!

[mikeklimczak]

Although Stravinsky was a staunch defender of his music having "no person emotion", you can hear the angst at 14:51. Consider reading about what was going on in his life at the time, and it makes perfect sense.

[sarahlees]

thank you for adding the score, makes it even more meaningful

[vmr]

so so so so nice B ) never let me down, Stravinsky

[trinitarian]

Have been listening to this work since 1980. Forty years old then, and another 40 have passed since. I'm now older than IS was when he wrote it. Does this help me hear loneliness in some passages, especially the second movement?

[baldrbraa]

Defusing the tonic/dominant relationship by sounding them both together right at the beginning. Also in the unison before that, ramming the leading note B repeatedly and ending the phrase with C (and done with that, let’s go to G). Reminiscent of the a minor phrase right at the beginning of The Rite of Spring. (OK, satisfied? Now let’s see what happens afterwards!)

[metroidfoosion]

It’s interesting, to me each movement feels like it holds a very heavy influence from a certain composer, or a combination of them. It makes sense since each movement was composed in different places and times of stravinskys life.

1st movement-Beethoven
2nd movement-Mozart
3rd movement-Copland
4th movement-Copland; with heavy Bach influence too.

Also interesting to note, the end of the 4th movement is a callback to the end of his symphony of wind instruments(in memorial of Debussy).

[infuriatedcanadian]

Whichever Austrian nobleman commissioned this must be quite happy
I bet he entered his concert halls as this was playing, and everyone was so taken by it they didn't notice him arrive

[xaxaxaxaxaxaxa]

I love so much about this piece, but the fourth movement makes my heart hurt. The bassoon soli at the beginning is so beautiful, but why couldn't it have gone on for another few phrases? And throughout the rest, I'm dying with anticipation for a climax that doesn't really happen. I get that Stravinsky has to stick with his style, but why couldn't he have put that aside to make it a little more satisfying to listen to?

[LuizBHMG]

Sinfonia interessante de Igor Stravinski. E é para uma orquestra relativamente pequena...