Stravinsky: Seen And Heard

by Hans Keller

Light wear to cover. Shipped from the U.K. All orders received before 3pm sent that weekday.

127 pages, Paperback

First published January 1, 1982

Reviews

[Dominic H · Rating 3 out of 5]

A much less substantial book even than Criticism, based on an expanded version of an article Keller wrote for Tempo on Stravinsky's remarkable self reinvention as a 12 tone composer. Focussing on a single piece ('In memoriam Dylan Thomas') Keller explored Stravinsky's debt to Schoenberg, a composer whom Stravinsky not only did not acknowledge but often (in the 'Conversations' books with Robert Craft) disparaged, whilst at the same time eulogising Webern (whom Keller admires but as with most listeners would not consider a composer in the same rank as Schoenberg). A relatively stimulating psychological as well as musicological read.

The 'Seen' part of the book consists of Milein Cosman's famous, interesting, but to my eye mostly unremarkable line drawings of Stravinsky in rehearsal and performance.

[Renee · Rating 4 out of 5]

This small but substantial book begins with the “heard” part of the title, with Keller writing about Stravinsky’s embracing of serial technique after years of being vocally anti-Schoenberg. Keller draws on his deep training in psychoanalysis to investigate elements in Stravinsky’s creative character that made this change possible. The “seen” part of the book is contributed by Keller’s wife Cosman through her drawings of Stravinsky (primarily made at rehearsals for BBC concerts in 1958, 1959 and 1961) and Jean Cocteau, who was involved in rehearsals for a 1959 concert performance of Stravinsky’s Oedipus Rex. Readers with an understanding of music analysis and terminology will enjoy this book most, and Keller’s writing style, as always, reflects his lifestyle — unabashedly opinionated and elegant.