Art Nouveau Tendencies in Aesthetics and Stylistics of Stravinsky’s Early Oeuvre
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Abstract
The article is devoted to the Art Nouveau influence on the aesthetics and stylistics of Stravinsky’s early oeuvre. It is noted that the style principles not only met the aspirations of a sharp-minded and searching for composer himself but they also had a strong influence on his creative choice.
Many features of modernity were perceived by Stravinsky via the prism of the art world supporter aesthetics, which manifested itself primarily in the musical theatre. The article emphasizes the decorative, spectacular and colorful peculiarities of early ballets “The Firebirdˮ, “Petrushkaˮ and the first opera “The Nightingaleˮ, resounding with “Russian Seasonsˮ by Diaghilev. It is indicated that the two creators were united by the desire for a synthesis of arts. One of the brightest examples is “The Firebird” by Stravinsky, Fokine, Golovin and Bakst (1910), which demonstrates the inextricable fusion and unity of choreography, music and design, that is, the synthesis of plastic arts, music and painting.
Among the typological features of modernity perceived by Stravinsky, the article examines iconography, ornamentality, rhythm, timbre, multi-style and statics.
Keywords: Stravinsky’s early oeuvre, the art world supporters, Art Nouveau, The Firebird, Petrushka, The Nightingale, ornamentality, multi-style, statics.
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