Splintered Forms, Extraordinary Symphonies: Stravinsky's Symphonies of Wind Instruments

This video is an extension of the lecture recital I gave in Lincoln Theatre at the University of Hartford on November 17, 2022. It is part of my larger thesis focused on the representation of disability in wind band music that includes discourses on John Mackey's "Places we can no longer go," Igor Stravinsky's "Symphonies of Wind Instruments," and Lauren Coons's "Sonic Pathways."
Figures and cited works can be downloaded at this link: drive.google.c...
The full recording of Symphonies of Wind Instruments at the end of this video was made by the Hartt Wind Ensemble in a second performance we made of the work that evening. View this performance at 32:47
Audio was captured and mastered by the Hartt Recording Studio.
There is a short analysis in the middle of my lecture of the opening of Symphonies of Wind Instruments by Joseph Straus from his book Broken Beauty: Musical Modernism and the Representation of Disability (Oxford University Press, 2018). It can be downloaded as Figure 1.2 from the book's companion website: global.oup.com...
Lecture Abstract:
Joseph Straus described Stravinsky’s musical output in his Russian period in terms of both Modernism and Disability. In this lecture I apply this analytical frame to Stravinsky’s Symphonies of Wind Instruments to show how the work exhibits this dialogue, even though it was published later than the works Straus analyzed. I trace splintered organizing structures in the work (what Rehding names a “Logic of Discontinuity”) and synthesize them with Adorno’s ableist criticisms of Stravinsky to demonstrate the consanguinity between modernist music and early 20th Century cultural attitudes toward disability.