Knowledge (XXG)

Requiem Canticles

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Joseph N. Straus has discussed in detail Stravinsky's particular application of serial technique in the work, and his devising and use of a system of "rotational arrays" and "four-part arrays" in composing the work. David Smyth has noted Stravinsky's incorporation of the "B–A–C–H"
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is characteristic of Stravinsky's twelve-tone practice in that he preferred the inverse-retrograde (IR) to the typical retrograde-inverse (RI):
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period, but it has elements from all his stylistic periods. It was performed at Stravinsky's funeral five years after its initial premiere.
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Straus, Joseph N. (Spring 1999). "Stravinsky's "Construction of Twelve Verticals": An Aspect of Harmony in the Serial Music".
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Smyth, David (Summer 1999). "Stravinsky's Second Crisis: Reading the Early Serial Sketches".
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The Cambridge Introduction to Serialism. Cambridge Introductions to Music
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Stravinsky: The Rite of Spring, Requiem Canticles, Canticum Sacrum
240: 146: 67: 48: 450:"A "Requiem for the Requiem": On Stravinsky's Requiem Canticles" 142: 534: 482:(pp. 6–9) . Colchester, Essex, England: Chandos Records. 1620: 478:(1995). "Igor Stravinsky: The Rite of Spring, etc". In 1573: 58:
The work is a partial setting of the Roman Catholic
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Index

Requiem Canticles (Balanchine)
Requiem Canticles (Robbins)
Igor Stravinsky
contralto
bass
chorus
orchestra
requiem mass
movements
Latin
serial
contralto
bass
mixed chorus
flutes
piccolo
alto flute
bassoons
horns
trumpets
trombones
timpani
xylophone
vibraphone
tubular bells
harp
piano
celesta
strings
Exaudi

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