Table of Contents

Preface; Foreword; Introduction: Chamber Winds and the Pre-history of Stravinsky's Octet for Winds and Concerto for Piano and Winds; 1. Igor Stravinsky's Formative Years; 2. Transitional Years: From Le Sacre to the Octet (Orchestrational Choices; Transition of Form and Technique); 3. The Octet for Winds (History, Background and Inspiration; Instrumentation; Form and Analysis); 4. The Concerto for Piano and Winds (From the Octet to the Concerto; Background; Comparative and Descriptive Analysis); Conclusion: The Position of the Octet and Concerto in Modern Day; Wind Performance Programs; Bibliography; Index

About the Author

Dr. Scott Lubaroff earned his DMA in conducting from Michigan State University, and master's and bachelor's degrees from The University of Iowa. He has had articles accepted for publication in the Journal of Band Research and National Band Association Journal, and his wind transcription of Johann Strauss, Jr.'s Eljen a Magyar was also recently released. Dr. Lubaroff is active as a conductor, clinician, and arranger throughout the U.S., and teaches courses in the History of the Wind Band, Conducting, Orchestration, and American Music.

Reviews

"...Lubaroff has contributed an invaluable new resource for conductors, historians, and those who are simply interested in the music of Igor Stravinsky. This wonderful text documents the role of Igor Stravinsky's Octet and Concerto for Piano and Winds as pivotal works in both Stravinsky's output and wind literature in general, and also provides excellent analytical material on each work....Lubaroff does an excellent job of winnowing down material from many sources to focus the discussion on this gradual progression in Stravinsky's development, providing a clear basis for his assertion of the Octet's role as the first work that in every way epitomized Stravinsky's so-called Neo-Classic period. The section entitled 'Transition of Form and Technique: A Look Back', takes the reader step-by-step through these changes, examining the influence of works such as Mavra, Three Easy Pieces, and Pulcinella. As a conductor, the finest aspect of the book to me is the extensive form and analysis of the Octet. This chapter clearly examines the formal and motivic structure of the Octet, but also digs far deeper into each section of the piece....Lubaroff discusses each variation in turn and does a marvelous job of relating each variation to the original theme....Lubaroff's conclusions are well drawn and defended and he has provided the reader with an excellent look at the role of tow pivotal works by Igor Stravinsky. Not only that, he has created a document that is both scholarly and highly enjoyable to read." - Dr. Andrew Boysen, University of New Hampshire"