Review of Igor Stravinsky's Symphony in Three Movements: I. Overture

     Written over the span of three years, Symphony in Three Movements earned Igor Stravinsky much praise when premiered in 1946. Initially performed by the New York Philharmonic Orchestra, the piece challenges the archetypal version of a classical symphony, celebrating the unconventional in a way that is often expected in the compositions of Igor Stravinsky. In this particular piece, the Russian composer sought to portray the destruction and devastation of World War I through his music—something I believe he did quite successfully. Within just the first few measures, the first movement confronts an audience with the overpowering culmination of brass and string. The added layer of percussion contributes to a harsh and unyielding sound that quickly dies down, almost as fast as it flared up.

     Stravinsky laces intentional inconsistency and uses rough, dramatic transitions throughout the movement. Wielding just six notes, the piece employs a turbulent dynamic of rapid changes in intensity and volume. Moreover, there is a distinct confrontation in pitch between string and brass. With no real focus on melody, the first movement thus constructs an intriguing parallel between the confrontation associated with war and his musical conflict. Stravinsky captures another element of war by evoking uneasiness, as the persistent rhythm of violin underlies the whole first movement. Soon, the rapid chords of the piano add to the angst, contributing to the buildup in volume, rhythm, and musical discord. The tumultuous bombardment of brass drives the rhythm forward, fueling an intangible fire that seems to bellow more and more out of control.

     Interestingly, Stravinsky’s remarks regarding his inspiration for the Symphony in Three Movements are all rooted in the uncontrollable destruction that had taken place across Europe and Asia. From the scorched earth tactics employed in China to the toxic gas dispersal in Europe, images of total devastation remained ingrained in his mind. Indeed, the allusion to total calamity is well-discernible in Stravinsky’s piece. Fittingly referred to as his “War Symphony,” this composition seems to be Stravinsky’s mission to capture the war in a way that film, or writing, could not. He creates emotion, anguish, even terror within the audience, and in the end, I think Symphony in Three Movements is a mission, accomplished.