![Stravinsky, Théodore (1907-1989)[ Stravinsky, Igor. (1882–1971)] Drawing for the Set of "Oedipus Rex"](http://www.schubertiademusic.com/cdn/shop/files/Stravinsky_2C_Theodore_Drawing_for_the_Set_of_Oedipus_Rex_22795.jpg?v=1722190625)
Stravinsky, Théodore (1907-1989)[ Stravinsky, Igor. (1882–1971)]. Drawing for the Set of "Oedipus Rex".
Original drawing for the unrealized original performance with scenic designs by the composer's son, Theodore Stravinsky. Ink on paper. Unsigned, irregularly trimmed, mounted to semi rigid paper, identifying inscription on verso of former frame mount (included). 8.6 x 13 inches; 22.5 x 33 cm. Provenance: Vera de Bosset Stravinsky to Mme. Pankoff.
Stravinsky's Oedipus Rex is an opera-oratorio for orchestra, speaker, soloists, and male chorus. The libretto, based on Sophocles's tragedy, was written by Jean Cocteau in French and then translated by Abbé Jean Daniélou into Latin; the narration, however, is to be performed in the language of the audience. Written towards the beginning of Stravinsky's neoclassical period, it is considered one of the finest works from this phase of the composer's career.
The score contains a set design by Stravinsky's son Theodore, accompanied by a scenic description by Cocteau; letters from Cocteau to Stravinsky in February 1926 and his early drafts of the text show that Cocteau gave significant advice to Theodore.
"Stravinsky began writing the score in January 1926, and finished it on 14th March the following year. He was in a hurry, because its world première was scheduled at the time of Diagilev’s Paris performances, which in May 1927 were to commemorate the 20th anniversary of Les Ballets Russes founder’s activity. In addition, Oedipus Rex was to be a stage design debut of Stravinsky’s son, Theodore. However, the rush and lack of money foiled the plans, and the work was only staged as oratorio, i.e. statically, without any costumes or set design, thereby focussing the spectator’s attention on the text. To make matters worse, it was squeezed in between two acts of Diagilev’s vivid ballets, and only received chilly applause. This comes as no surprise, as the performance’s greatness was based on its spectacularity, and not the libretto which by definition was only a pretext for the music and plastic effects." (Ewa Skwara, SYMBOLAE PHILOLOGORUM POSNANIENSIUM GRAECAE ET LATINAE XXVII/3 • 2017
pp. 7–12)
pp. 7–12)
Stravinsky, Théodore (1907-1989)[ Stravinsky, Igor. (1882–1971)]. Drawing for the Set of "Oedipus Rex".
Original drawing for the unrealized original performance with scenic designs by the composer's son, Theodore Stravinsky. Ink on paper. Unsigned, irregularly trimmed, mounted to semi rigid paper, identifying inscription on verso of former frame mount (included). 8.6 x 13 inches; 22.5 x 33 cm. Provenance: Vera de Bosset Stravinsky to Mme. Pankoff.
Stravinsky's Oedipus Rex is an opera-oratorio for orchestra, speaker, soloists, and male chorus. The libretto, based on Sophocles's tragedy, was written by Jean Cocteau in French and then translated by Abbé Jean Daniélou into Latin; the narration, however, is to be performed in the language of the audience. Written towards the beginning of Stravinsky's neoclassical period, it is considered one of the finest works from this phase of the composer's career.
The score contains a set design by Stravinsky's son Theodore, accompanied by a scenic description by Cocteau; letters from Cocteau to Stravinsky in February 1926 and his early drafts of the text show that Cocteau gave significant advice to Theodore.
"Stravinsky began writing the score in January 1926, and finished it on 14th March the following year. He was in a hurry, because its world première was scheduled at the time of Diagilev’s Paris performances, which in May 1927 were to commemorate the 20th anniversary of Les Ballets Russes founder’s activity. In addition, Oedipus Rex was to be a stage design debut of Stravinsky’s son, Theodore. However, the rush and lack of money foiled the plans, and the work was only staged as oratorio, i.e. statically, without any costumes or set design, thereby focussing the spectator’s attention on the text. To make matters worse, it was squeezed in between two acts of Diagilev’s vivid ballets, and only received chilly applause. This comes as no surprise, as the performance’s greatness was based on its spectacularity, and not the libretto which by definition was only a pretext for the music and plastic effects." (Ewa Skwara, SYMBOLAE PHILOLOGORUM POSNANIENSIUM GRAECAE ET LATINAE XXVII/3 • 2017
pp. 7–12)
pp. 7–12)