105

A new type of doubling makes its appearance in the Movements, as

shown in measure 87 of Figure 64. Two instmments (piano and oboe in this
instance) weave or "dovetail" back and forth to create one single line. Notice
that in the quintuplet, the oboe is given the first two parts, the piano is given
the third, they share the fourth, and the oboe is given the fifth to complete the
group. This is a hitherto unseen method of combining the timbres of two
different instmments, where the two instmments in effect become one.
With Movements, Stravinsky showed the complete assimilation of serial
techniques into his compositional style. In his last book written with Robert
Craft, he commented:
The greatest crisis in my life as a composer was the loss of
Russia, and its language not only of music but of words. The
second great crisis followed The Rake's Progress, though I was not
aware of it as such at the time, continuing as I did to move from
work to work. The 'period of adjustment' was even longer, and
looking back on it now I am surprised myself at how long I
continued to straddle two 'styles.' Was it because at seventy
unlearning is as difficult as learning? In any case, I now see the
Movements as the turn-of-the-corner in my later music.'*^

PiaDO

Ob.

CI.

Arpa

Figure 64: Movements for Piano and Orchestra, measures 86-88. Copyright
1960 by Hawkes & Son, Ltd. Reprinted by permission.

42
Stravinsky, Themes and Conclusions, p. 33.