Description
This study asserts that Stravinskys Octour pour instruments a vents (1923) is pivotal within Stravinskys progressions in regard to orchestrational practice, instrumental choices, and compositional choices, and presents it as the point in which all of these transitions came together for the first time. After an opening discussion of Stravinskys early life and compositional career, it concentrates on setting up the Octet and Concerto through discussion of the years leading up to their composition. In addition to placing the two works within their context of their position and broader influence upon Stravinskys surrounding production, it provides a full musical analysis of the Octet, followed by comparative analysis between it and the Concerto. The analysis is predominantly centered around compositional practices and orchestrational techniques.
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