Musical Borrowing
An Annotated Bibliography

Individual record

[+] Marschner, Bo. "Stravinsky's Le baiser de la fée and Its Meaning." Dansk årbog for musikforskning 8 (1977): 51-83.

Despite Stravinsky's protestations to the contrary, it is possible to find meaning in his music, especially in Le baiser de la fée. As the work borrows from Tchaikovsky and makes reference to Richard Wagner a great deal, meaning can be found by examining Le baiser de la fée's borrowing and incorporations. The ballet's climax uses the half-diminished seventh chord, which is identical to the "Curse structure" of Wagner's Ring and the "Tristan structure" in Tristan und Isolde. Incidentally, this particular chord is also found in many of the Tchaikovsky works from which Stravinsky borrows. This structure is used abundantly throughout Le baiser de la fée, by both avoiding it and eventually capitulating. This is one example of a "symbol" that can be traced throughout the work and that can be said to carry "meaning."

Works: Stravinsky: Le baiser de la fée (51-83).

Sources: Tchaikovsky: Soir d'Hiver (62), Tant Triste, Tant Douce (62), Polka peu dansante (63), Ah, qui brûla d'amour (63, 68); Wagner: Tristan und Isolde (64, 70, 71); Tchaikovsky: Humoreske (71-73, 81-82), Reverie du Soir (72, 81), Berceuse de la Tempête (75-76); Wagner: Das Rheingold (76).

Index Classifications: 1900s

Contributed by: Marc Geelhoed

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