The Rite of SpringIgor Stravinsky1rank/position

Piano Stravinsky “The Rite of Spring” — Stravinsky: The Rite of Spring (Piano)

This work, depicting a pagan ritual celebrating the arrival of spring, revolutionized 20th-century music.

Characterized by complex rhythms and bold use of dissonance, it unfolds with primal, powerful energy.

In the orchestra, the opening bassoon solo employs the instrument’s upper register, creating a distinctive sense of tension.

Although its premiere in May 1913 caused a major uproar among the audience, there also exists a two-piano version by the composer, Igor Stravinsky.

Because it is his own arrangement, the mechanisms of polytonality, harmonic structure, and other architectural elements of each movement become strikingly clear, and today it is widely performed as an important addition to the piano repertoire.

It is highly recommended for those interested in innovations that overturn the conventions of classical music.

4 Etudes No. 4, Op. 7-4 in F-sharp majorIgor Stravinsky2rank/position

The Modern Étude – Stravinsky: Étude Op. 7 No. 4 in F-sharp Major | Takashi Yamada

This short piece, composed in 1908 and running just under two minutes, is a masterpiece that shines with an inventive fusion of harmony and rhythm.

Its light, lively motion bursts forth like fireworks, captivating the listener.

The deft use of syncopation drives a dynamic progression, while vivid harmonic shifts blend seamlessly, bringing out the performer’s full virtuosity.

Though brief, the work distills Igor Stravinsky’s innovative spirit in its pursuit of musical possibility, making it a memorable choice for a piano recital encore.

Notably, in November 1947, pianist Nadia Reisenberg gave a striking performance of the piece at Carnegie Hall.

A three-movement symphonyIgor Stravinsky3rank/position

Igor Stravinsky – Symphony in Three Movements

Composed in 1945, the piece was premiered in 1946 by the New York Philharmonic.

Incidentally, it was the first work performed after Stravinsky obtained American citizenship.

It consists of three movements.

Four Etudes, Op. 7 No. 4Igor Stravinsky4rank/position

Igor Stravinsky ‒ 4 Etudes, Op.7

Igor Stravinsky, an innovative composer who epitomized the 20th century, was born in Russia in 1882 and rose to fame with his ballet scores such as The Firebird, Petrushka, and The Rite of Spring.

His youthful work Four Etudes, Op.

7—especially the fourth—has long been known as a piece of high technical and expressive difficulty.

While inheriting the traditions of classical music, this work also bears his unique creative interpretation.

Its rhythmic, energetic character reveals the early stirrings of the pulse and dynamism that would mark his later compositions.

Savor this piece and experience the development of Stravinsky’s compositional style.

The Rite of SpringIgor Stravinsky5rank/position

Stravinsky The Rite of Spring // London Symphony Orchestra/Sir Simon Rattle

Igor Stravinsky’s masterpiece The Rite of Spring—known in Japan under the title “Haru no Saiten”—is one of the most highly acclaimed works of 20th-century modern music and is also renowned as a landmark of ballet music.

Though a staple of the ballet repertoire, the piece itself is strikingly unconventional, featuring frequent use of polyphony and dissonance.

It is highly recommended for those who want to explore contemporary ballet music.

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AgonIgor Stravinsky6rank/position

Stravinsky – Agon

This is a ballet score composed using the twelve-tone technique between 1953 and 1957.

It was first performed at a concert held in June 1957 to celebrate Stravinsky’s 75th birthday.

The ballet premiered in December of the same year, with choreography by George Balanchine.

Italian SuiteIgor Stravinsky7rank/position

Stravinsky: Suite Italienne — from the Italian Suite: 1. Introduction, 3. Tarantella

Although it is a piece from the modern era, it is composed based on a Baroque-style idiom.

It selects several memorable numbers from the ballet Pulcinella, and it is also performed on instruments like the cello.

As it progresses toward the latter half, harmonies characteristic of contemporary music appear more frequently, as if the composer’s true nature gradually emerges.