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Published online by Cambridge University Press: 04 February 2010
Stravinsky's 1968 transcriptions of Wolf are extraordinarily moving, for the gesture of farewell has the effect of an empty stage. The music remains though the composer is gone; here however Stravinsky seems to have withdrawn even from the music. Of the signs and traits that reveal the man in his previous Tchaikovsky, Pergolesi or Gesualdo disguises, none remain. One is left only with his choice. What makes the work so deeply affecting is the fact that the choice alone still speaks to us as Stravinsky.
page 19 note 1 The voice follows the cadence where the poet speaks, and leads where Christ replies.
page 22 note 1 Colin Mason's analysis (Tempo, Autumn 1961) suggests that the viola A b of bar 267 ‘is either a misprint for Gb or a serial ‘error’ that Stravinsky has permitted himself’.