Stravinsky信息详情
斯特拉温斯基（人名）
Stravinsky wrote some of his best-known music for ballets: The Firebird, Petrushka, and The Rite of Spring.───文斯基写过一些很著名的芭蕾舞曲，如《火鸟》、《彼得·鲁什卡》和《春之祭》。
Stravinsky left Russia in 1914 and settled in FRANCE.───斯特拉文斯基于1914年离开俄国定居法国。
The man has accumulated a repertoire of facial tics and blinks that demand nothing less than a complete musical score by Stravinsky.───此人积累了一套关于面部痉挛和眨眼的保留节目，至少需要斯特拉文斯基的全套配乐来伴奏。
It was not just that he thought "intensive measuring and counting" the key to music's future; Stravinsky had got there long before him.───这也不是因为施托克豪森认为“精深的测定与计算”是决定音乐未来的关键，斯特拉文斯基在他之前就已经参透这些。
Now what Stravinsky did in the Rite of Spring was not to take away the underpinning, but to remove any sense of predictable repetition.───在《春之祭》中斯特拉文斯基并没有将支撑物抽走，而仅仅是移动了一下那些老生常谈的重复因素。
Like an audience member at Stravinsky's Rite of Spring forced suddenly to join the cast, I plunged in, starkers.───就像突然被迫加入斯特拉文斯基（Stravinsky）《春之祭》（RiteofSpring）演出的观众一样，我也进了水，光着身子。
Imaginative nonconformity was in the air: Picasso, Joyce, Freud, Stravinsky, Schoenberg and others were breaking conventional bonds.───想像出的不整合性弥漫在空中：毕加索，弗洛伊德，斯特拉文斯基，勋伯格，等等都在打破常规。
But it is the eerie passion of Gesualdo's music, not the drama of his life, which led Igor Stravinsky and Arnold Schoenberg to him.───不过，Gesualdo身上吸引斯特拉文斯基和阿诺德•勋伯格的并不是他如同戏剧似的一生，而是其在音乐中表露出的神秘的激情。
Stravinsky, to whom Lipatti showed his Toccata , could only tell him to "continue in the same direction. "───斯特拉文斯基，李帕蒂给他看了他的托卡塔，只能告诉他“照此方向继续。”