Opera

An extensive bibliography by Paul Magriel of more than 600 titles is the finest

feature of the book: it lists books and articles about each work and provides

abstracts for book entries. No index.

1753. Albright, Daniel. Stravinsky: The Music Box and the Nightingale. Newark:
      Gordon & Breach, 1990. vii, 87p. ISBN 2-88124-295-2. ML410 .S9 A6.
      Although Stravinsky stated that music is unable to express anything but itself,
      Albright finds certain ideas in his music. In many works Stravisnky places two
      systems in opposition: nature (the nightingale) and art (the music box). He
      illustrates the artificiality of both. Interesting analyses of several works, includ-
      ing a detailed study of The Rake’s Progress: genesis, philosophical and allegor-
      ical aspects. Bibliography, no index.


1754. Walsh, Stephen. The Music of Stravinsky. London: Routledge, 1987. 317p.
      ISBN 0-4150-0198-6. ML410 .S932 W2.
      A perceptive, analytic approach to the music, with reference to other studies.
      Chapter 10 is on The Rake’s Progress: it covers genesis and technical matters.
      Bibliography of about 200 items, expansive index.


1755. Dahlhaus, Carl. “Strawinskijs episches Theater.” Beiträge zur Musikwis-
      senschaft23 (1981): 163–186.
      A close study of the dramatic form in all the operas and theater pieces, with a
      useful excursus into terminology.

Individual Works

Mavra

See Taruskin (#1749).

Oedipus rex

ASO174 (1996).

The Rake’s Progress

ASO145 (1992), COH (1982), ENOG 43 (1991), Rororo (1987).

1756. Hunter, Mary. “Igor and Tom: History and Destiny in The Rake’s Progress.”
      OQ7-4 (1990–1991): 38–52.
      Puzzles over leading motives in the opera. There is one made from Bach’s
      name: what does it mean? Other motives are found to be without “distinctive
      characteristics, personalities, or other inherent meanings.” Hunter finds a
      “relationship to the texts set to them,” however, and accepts passages as
      motives even with the notes changed or out of order. Some are associated with
      “larger questions of destiny and death” and “an analogy between Tom’s per-
      sonal fate and Stravinsky’s sense of his specifically musical destiny.”


1757. Carter, Lee Chandler. “The Progress in The Rake’s Progress.” Ph.D. diss., City
      U. of New York, 1995. x, 179p.

See also Walsh (#1754).

330 Opera

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