Stravinsky's Second Crisis: Reading the Early Serial Sketches

Abstract

OLLOWING AS IT DID on the very heels of Schoenberg's death, Stravinsky's adoption of twelve-tone technique in the early 1950s has been characterized variously as a political defection, as a religious conversion, and as a timely hop aboard a trendy bandwagon. Stravinsky himself described the development as a change of life, and called it a crisis. In 1966, while composing the Requiem Canticles, he put it this way:

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