Subtitle: Pour instruments a vents
1. Sinfonia - 3:50
2. Tema con Variazioni - 7:40
3. Finale - 3:35
Bb Soprano Clarinet (doubles Soprano Clarinet in A)
Trumpet (in C)
Trumpet (in A)
None discovered thus far.
Stravinsky’s Octuor for Wind Instruments (commonly known simply as the “Octet”) was written at a time in which the composer was beginning to experiment with more formal writing, a practice that would come to be known as Neo-Classicism. Stravinsky himself detested the term, calling it “a much abused expression meaning absolutely nothing.” The essence of neo-classicism is writing that is modern-sounding in its approach to harmony, rhythm, and counterpoint, yet is composed following the basic forms and ideals of the Classical period. Regardless of Stravinsky’s personal opinions on the semantics of the style, it was clear that he was employing a more formal and structured method in his compositions, and like it or not, he was a neo-classicist. Just a decade before he had burst onto the scene with his three nationalistic ballet scores, the last of which -- Rite of Spring -- had caused a near-riot at its premiere. Yet here Stravinsky was already abdicating the style that had brought him to fame, and was plunging into a new style, a style that never seemed to catch the public’s fancy in the way his lush Romantic scores had.
The score was begun at Biarritz, France, in late 1922, and was completed in Paris on 20 May 1923. The original version was published by Edition Russe de Musique in 1924; a later revised version (edited by Albert Spalding) is still published by Boosey & Hawkes. The manuscript resides in the Stiftung Rychenberg Winterthur. The premiere performance took place at the “Concerts Koussevitsky” in the Paris Opera House on 18 October 1923, with the composer conducting. Stravinsky decided to conduct the premiere performance partly due to the bad taste in his mouth from his experience with the premiere of Symphonies of Wind Instruments (in which he was unhappy with the way that Serge Koussevitzky interpreted the work), and partly because he did not want to risk another conductor “interpreting” a work for which – according to Stravinsky -- there was no interpretation.
Discussing the Octuor shortly after its first performance, Stravinsky said:
“Form, in my music, derives from counterpoint. I consider counterpoint as the only means though which the attention of the composer is concentrated on purely musical questions. Its elements also lend themselves perfectly to an architectural construction.”
- Program Note by Nikk Pilato
The composer wrote, "The octet began with a dream, in which I saw myself in a small room surrounded by a small group of instrumentalists playing some attractive music ... I awoke from this little concert in a state of great delight and anticipation, and the next morning began to compose.”
The premiere shocked many of the listeners who knew Stravinsky for his ballet commissions, and the work was not initially well received. Some audience members even thought that the work might have been a joke. But by 1924, with its performance at the Salzberg festival, the work was being hailed for its dynamic shift in aesthetic as the “Seventh Brandenburg Concerto.”
Aaron Copland, who attended the premiere, later wrote this of his experience with the work:
“I can attest to the general feeling of mystification that followed the initial hearing. Here was Stravinsky. . . now suddenly, without any seeming explanation, making an about-face and presenting a piece to the public that bore no conceivable resemblance to the individual style with which he had hitherto been identified ... No one could possibly have foreseen ... that the Octet was destined to influence composers all over the world.”
- Program Note by Michael Hoover
Reflecting Stravinsky's neo-classical era, his Octet for Wind Instruments exhibits strict formal structures and complex contrapunctal techniques. Stravinsky's music of this time may be considered a statement against Romanticism. The light-hearted closing is distinguished by its integration of jazz rhythms that obscure the bar line.
- Program Note from Great Music for Wind Band
- Florida: VI
To submit a performance please join The Wind Repertory Project
- University of Texas-Austin Chamber Winds (Jerry Junkin, conductor) - 21 December 2019 (2019 Midwest Clinic)
- Nazareth College (Rochester, N.Y.) Wind Symphony (Jared Chase, conductor) – 20 October 2019
- University of Oregon (Eugene) Wind Ensemble (David M. Jacobs, conductor) – 12 March 2019
- University of California, Los Angeles, (UCLA) Wind Ensemble (Travis J. Cross, conductor) – 12 March 2019
- Boston (Mass.) Conservatory Wind Ensemble (Vimbayi Kaziboni, conductor) – 22 February 2019
- Temple University (Philadelphia, Penn.) Wind Symphony (Patricia Cornett, conductor) – 20 February 2019
- Penn State University (State College) Recital Ensemble (Jacob Bender, conductor) - 27 January 2019
- Michigan State University (East Lansing) Chamber Winds (Kevin Sedatole, conductor) – 20 November 2018
- University of Wisconsin-Madison Wind Ensemble (Scott Teeple, conductor) – 28 October 2018
- New England Conservatory (Boston, Mass.) Symphonic Winds (Wlliam Drury, conductor) – 25 October 2018
- University of Connecticut (Stamford) Wind Ensemble (Vu Nguyen, conductor) - 9 October 2018
- University of Southern California (Los Angeles) Thornton Wind Ensemble (H. Robert Reynolds, conductor) - 5 October 2018
- University of Miami (Coral Gables) Frost Wind Ensemble (Robert Carnochan, conductor) – 22 March 2018
- University of Missouri, Kansas City, Wind Symphony – 5 December 2017
- San Francisco (Calif.) Conservatory of Music Wind Ensemble (John Masko, conductor) – 3 December 2017
- Baldwin-Wallace College (Berea, Ohio) Symphonic Wind Ensemble (Brendan Caldwell, conductor) – 1 December 2017
- San Francisco Symphony (Michael Tilson Thomas, Conductor) 27, 28, 29 & 30 January 2010
Works for Winds by this Composer
- Berceuse and Finale from "The Firebird" (arr. Longfield) (1910/1998)
- Berceuse and Finale from "The Firebird" (arr Goldman) (arr. Goldman) (1910/1941)
- Berceuse and Finale from "The Firebird" (arr McAlister) (arr. McAlister and Reed) (1910/1989)
- Circus Polka (orch. Raksin) (1942/1948)
- Concertino for 12 Instruments (1920/1952)
- Concerto for Piano and Wind Instruments (1950)
- Ebony Concerto (1946)
- Elegy for JFK (1964)
- Excerpts from "The Rite of Spring" (arr. Buckley) (1913/2015)
- Fanfare for a New Theater (1968)
- Finale from "The Firebird" (arr. Story) (1910/2014)
- The Firebird (trans. Patterson) (1910)
- Firebird Excerpts (arr. Bocook) (1910/1995)
- The Firebird 1919 (tr. Earles, ed. Fennell) (1910/1998)
- Fireworks, Op 4 (trans. Rogers) (1908)
- Funeral Song (1908)
- L'Histoire du Soldat (1918)
- Mass for Mixed Chorus and Double Wind Quintet (1948)
- Octuor (1923)
- Pastorale (1907/1933)
- The Rite of Spring (tr. Patterson) (1913/1947)
- The Rite of Spring (arr. Sánchez) (1913)
- The Rite of Spring (arr. Vosbein) (1913/2011)
- Scherzo à la russe (arr. Marciniak) (1944/1977)
- Song of the Volga Boatmen (ed. Simpson) (1917/1989)
- Suite from "The Firebird" (trans. Nefs) (1919/2013)
- Suite from "The Firebird" (trans. Knox) (1919)
- Suite No 2 for Wind Ensemble or Small Concert Band (tr. McAlister and Binney) (1921/1988)
- Symphonies of Wind Instruments (1920, rev. 1947)
- Symphony of Psalms (1930/1948)
- Kinsey, Jordan E. "Stravinsky's Octet for Wind Instruments: An Object with Specific Weight." Journal of Band Research 52, no. 2 (Spring 2017): 1-18.
- Nicholson, Chad. (2009). Great Music for Wind Band: A Guide to the Top 100 Works in Grades IV, V, VI. Galesville, MD: Meredith Music Publications. pp 171-73.
- Stravinsky, I. (1952). Octet: For Wind Instruments [score]. Boosey & Hawkes: New York.
- Walsh, Stephen. (1988). The Music of Stravinsky. Oxford: Clarendon Press.
- Winther, R. (2004). An Annotated Guide to wind Chamber Music. Miami: Warner Brothers.
- Wood Jr., James J. (2007) A Historical and Analytical Examination of the Stravinsky Octet for Wind Instruments, with a Guide to Performance Preparation of the Two Trumpet Parts [Doctoral Dissertation].