Book contents
- Stravinsky in Context
- Composers in Context
- Stravinsky in Context
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Abbreviations
- Frontispiece
- Epigraph
- Part I Russia and Identity
- Part II Stravinsky and Europe
- Part III Partnerships and Authorship
- Part IV Performance and Performers
- Part V Aesthetics and Politics
- Part VI Reception and Legacy
- Chapter 29 The Apollonian Clockwork Rewound
- Chapter 30 Stravinsky Reception in the USSR
- Chapter 31 The Stravinsky/Craft Conversations in Russian and Their Reception
- Chapter 32 Publishing Stravinsky
- Chapter 33 Copyright, the Stravinsky Estate and the Paul Sacher Foundation
- Chapter 34 Evoking the Past, Inspiring the Future
- Chapter 35 ‘Music is, by its very nature, essentially powerless to express anything at all’
- Recommendations for Further Reading and Research
- Index
- Endmatter
Chapter 33 - Copyright, the Stravinsky Estate and the Paul Sacher Foundation
from Part VI - Reception and Legacy
Published online by Cambridge University Press: 03 December 2020
- Stravinsky in Context
- Composers in Context
- Stravinsky in Context
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Abbreviations
- Frontispiece
- Epigraph
- Part I Russia and Identity
- Part II Stravinsky and Europe
- Part III Partnerships and Authorship
- Part IV Performance and Performers
- Part V Aesthetics and Politics
- Part VI Reception and Legacy
- Chapter 29 The Apollonian Clockwork Rewound
- Chapter 30 Stravinsky Reception in the USSR
- Chapter 31 The Stravinsky/Craft Conversations in Russian and Their Reception
- Chapter 32 Publishing Stravinsky
- Chapter 33 Copyright, the Stravinsky Estate and the Paul Sacher Foundation
- Chapter 34 Evoking the Past, Inspiring the Future
- Chapter 35 ‘Music is, by its very nature, essentially powerless to express anything at all’
- Recommendations for Further Reading and Research
- Index
- Endmatter
Summary
Perhaps no other twentieth-century composer can match Igor Stravinsky in the sheer complexity of the legal and material sides of his oeuvre and posthumous estate. Given the political turmoil in the first half of the century and the chequered histories of his publishers, even the safeguarding of his author’s rights was a nerve-racking affair. Then came the gifts, loans and sales of his manuscripts, his multiple emigrations and his tortuous family situation. All these factors, taken together, make a complete overview of the sources and far-flung documents wholly impossible, though in some cases they provide material for exciting stories.
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- Stravinsky in Context , pp. 296 - 303Publisher: Cambridge University PressPrint publication year: 2020