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Octet (Stravinsky) 八重奏曲 (ストラヴィンスキー) Octuor pour instruments à vent Ottetto (Stravinskij)
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八重奏曲（はちじゅうそうきょく、Octet）は、イーゴリ・ストラヴィンスキーが1922年から1923年にかけて作曲した室内楽曲。新古典主義時代のストラヴィンスキーは管楽器を偏重する傾向があったが、この作品も8つの管楽器のために書かれた。特異な編成は、ストラヴィンスキーが夢の中でこの編成による演奏を聴いたことに由来するという。音楽の内容は思い出せなかったが8人の演奏者の楽器は覚えていて、目が覚めた朝に早速同じ編成による作曲に取りかかったのだと語っている。 初演は1923年10月18日、パリ・オペラ座で催されたクーセヴィツキー音楽会で、ストラヴィンスキー自身が指揮して行われた。1924年にロシア音楽出版社から出版され、のち1952年に改訂版（第2楽章のテンポの一部を変更）がブージー・アンド・ホークス社から出版された。 楽譜には献辞はついていないが、後にストラヴィンスキーは当時恋愛関係にあったヴェラ（1940年に結婚）に捧げたと言っている。 The Octet for wind instruments is a chamber music composition by Igor Stravinsky, completed in 1923. Stravinsky’s Octet is scored for an unusual combination of woodwind and brass instruments: flute, clarinet in B♭ and A, two bassoons, trumpet in C, trumpet in A, tenor trombone, and bass trombone. Because of its dry wind sonorities, divertimento character, and open and self-conscious adoption of "classical" forms of the German tradition (sonata, variation, fugue), as well as the fact that the composer published an article asserting his formalist ideas about it shortly after the Octet's first performance, it has been generally regarded as the beginning of neoclassicism in Stravinsky's music, even though his opera Mavra (1921–22) already displayed most of the traits associated with this phase L’Octuor pour instruments à vent (W 51) pour flûte, clarinette, deux bassons, deux trompettes, deux trombones, est un octuor d'Igor Stravinsky. Composé en 1922-23, il fut créé le 18 octobre 1923 à l'Opéra de Paris aux concerts Koussevitsky sous la direction du compositeur. Il devait déclarer à propos de sa partition : « mon octuor est un pur objet sonore […] la forme dans ma musique provient directement du contrepoint ». L'Ottetto per strumenti a fiato è una composizione da camera di Igor' Fëdorovič Stravinskij, scritta fra il 1922 e il 1923 ed è considerata una delle migliori realizzazioni del periodo neoclassico dell'autore.
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Simms, Bryan R. 1986. Music of the Twentieth Century: Style and Structure. New York: Schirmer Books; London: Collier Macmillan Publishers. . Nelson, Robert U. 1962. "Stravinsky's Concept of Variations". The Musical Quarterly 48, no. 3, Special Issue for Igor Stravinsky on His 80th Anniversary , pp. 327–339. Craft, Robert. 1983–84. "A. On the Symphonies of Wind Instruments. B. Toward Corrected Editions of the Sonata, Serenade, and Concerto for Two Pianos. C. The Chronology of the Octet". Perspectives of New Music 22, nos. 1 & 2 : 448–463. Copland, Aaron. 1968. The New Music 1900–1960, revised and enlarged edition. New York: W. W. Norton. Straus, Joseph N. 1987. "Sonata Form in Stravinsky". In Stravinsky Retrospectives, edited by Ethan Haimo and Paul Johnson, 141–161. Lincoln: University of Nebraska Press. Haimo, Ethan. 1987. "Problems of Hierarchy in Stravinsky's Octet". In Stravinsky Retrospectives, edited by Ethan Haimo and Paul Johnson, 36–54. Lincoln: University of Nebraska Press. White, Eric Walter. 1979. Stravinsky: The Composer and His Works, second edition. Berkeley and Los Angeles: The University of California Press. . Walsh, Stephen. 2001. "Stravinsky, Igor ". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan. Stravinsky, Igor, and Robert Craft. 1963. Dialogues and a Diary. New York: Doubleday. Cook, Nicholas. 2003. "Stravinsky Conducts Stravinsky". In The Cambridge Companion to Stravinsky, edited by Jonathan Cross, 176–191. Cambridge Companions to Music. Cambridge and New York: Cambridge University Press. . Kielian-Gilbert, Marianne. 1991. "Stravinsky's Contrasts: Contradiction and Discontinuity in His Neoclassic Music". The Journal of Musicology 9, no. 4 : 448–480. Waeltner, Ernst Ludwig. 1971. "Aspekte zum Neoklassizismus Strawinskys: Schlußrhythmus, Thema und Grundriß im Finale des Bläser-Oktetts 1923". In Bericht über den Internationalen Musikwissenschaftlichen Kongress Bonn 1970, edited by Carl Dahlhaus, Hans Joachim Marx, Magda Marx-Weber, and Günther Massenkeil, with Bericht über das Symposium "Reflexionen über Musikwissenschaft heute", edited by Hans Heinrich Eggebrecht, 265–274. Kassel, Basel, Tours, London: Bärenreiter-Verlag. . Haimo, Ethan, and Paul Johnson. 1987. "Editors' Preface". In Stravinsky Retrospectives, edited by Ethan Haimo and Paul Johnson, vii–xi. Lincoln: University of Nebraska Press. Anon. 1924. "The Salzburg Festival: Stravinsky's Octet; The Work of English Composers". The Times : 8.
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The Octet for wind instruments is a chamber music composition by Igor Stravinsky, completed in 1923. Stravinsky’s Octet is scored for an unusual combination of woodwind and brass instruments: flute, clarinet in B♭ and A, two bassoons, trumpet in C, trumpet in A, tenor trombone, and bass trombone. Because of its dry wind sonorities, divertimento character, and open and self-conscious adoption of "classical" forms of the German tradition (sonata, variation, fugue), as well as the fact that the composer published an article asserting his formalist ideas about it shortly after the Octet's first performance, it has been generally regarded as the beginning of neoclassicism in Stravinsky's music, even though his opera Mavra (1921–22) already displayed most of the traits associated with this phase of his career . L'Ottetto per strumenti a fiato è una composizione da camera di Igor' Fëdorovič Stravinskij, scritta fra il 1922 e il 1923 ed è considerata una delle migliori realizzazioni del periodo neoclassico dell'autore. L’Octuor pour instruments à vent (W 51) pour flûte, clarinette, deux bassons, deux trompettes, deux trombones, est un octuor d'Igor Stravinsky. Composé en 1922-23, il fut créé le 18 octobre 1923 à l'Opéra de Paris aux concerts Koussevitsky sous la direction du compositeur. Il devait déclarer à propos de sa partition : « mon octuor est un pur objet sonore […] la forme dans ma musique provient directement du contrepoint ». 八重奏曲（はちじゅうそうきょく、Octet）は、イーゴリ・ストラヴィンスキーが1922年から1923年にかけて作曲した室内楽曲。新古典主義時代のストラヴィンスキーは管楽器を偏重する傾向があったが、この作品も8つの管楽器のために書かれた。特異な編成は、ストラヴィンスキーが夢の中でこの編成による演奏を聴いたことに由来するという。音楽の内容は思い出せなかったが8人の演奏者の楽器は覚えていて、目が覚めた朝に早速同じ編成による作曲に取りかかったのだと語っている。 初演は1923年10月18日、パリ・オペラ座で催されたクーセヴィツキー音楽会で、ストラヴィンスキー自身が指揮して行われた。1924年にロシア音楽出版社から出版され、のち1952年に改訂版（第2楽章のテンポの一部を変更）がブージー・アンド・ホークス社から出版された。 楽譜には献辞はついていないが、後にストラヴィンスキーは当時恋愛関係にあったヴェラ（1940年に結婚）に捧げたと言っている。
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