The analytical study of the History of the Soldier
, part of a radical anticonformism, raises questions that may seem insoluble: Stravinsky invents a resolutely new musical language without proceeding or by enriching the harmonic possibilities inherited from Debussy, nor by the Erosion of old tonal functions along the path taken by Schoenberg. If the composer of The Rite of Spring
remains in places attached to the Russian sources of modality, and if he is tempted by the expressive possibilities of chromaticism and polytonality, he proceeds onotut by appropriation of deliberately banal or caricature materials, for the agencies in a texture of amazing skill!
The formal organization, based on the multiplication of motives, demanded a thorough study to grasp the intentions of the composer, who endeavored to render alive, though often in concealed ways, the characters of the Soldier, the Devil and the Princess.
Finally, if the instrumental writing is the object of a particular attention, because of its singularity, it is the work of the rhythm, of an ingenuity without precedent, that this notebook gives the greatest importance, in its interestingly close to the polymetry.