Soldier's Tale (1918)

According to Stravinsky, my choice of instrumentation was influenced by the discovery of American jazz. The Histoire Band resembles that of a jazz band. The percussion part must also be considered as manifestation for my enthusiasm for jazz. I borrowed its rhythmic style, not as played but as written.

Concerto for Piano and Winds (1924)
Movement I: Dotted rhythm intro and Allegro section of relentless driving rhythm
Movment III: Percussive use of piano in the starting

Symphony in C (1940)
Use of Symphony, Sonata form
Principal theme introduced at R5 by oboe accompanied with violin II and viola. Harmonic ambiguity when melody is C major, viola and violin II strong sugguest E pedal. Percussive effect of viola and violin II instead of their lyrical qualities. Antiphony 4 bars before R2

Symphony of Psalms (1930)
Movement I: Octatonic scale, changing meters and unexpected rests in the opening that creates metrical instability. Gregorian Chant at R4, its a plain song of Roman Catholic Church, uses only two notes, against the multiple ostinato patterns in oboe, english horn and bassoon. R9 percussive use of piano. Omission of violin, viola and clarinet to avoid an emotional sound palette. Moto perpetuo. Scoring of double reeds that resembles a renaissance consort.
Movment II: fully developed fugue with tonic-dominant statements and strettos.

That's all for Stravinsky! Plus Pulcinella (1919-1920)!