JAVS Spring 2026

These selected parallels are significant because, despite the highly individual harmonic language Stravinsky constructs in Élégie , Debussy’s composition offers a compelling source of aesthetic and conceptual inspiration. This invites a broader question: did Stravinsky have direct knowledge of Debussy’s Élégie , especially given his longstanding engagement with the French composer’s music—and, conversely, Debussy’s awareness of Stravinsky’s early works? 16 Although no direct evidence has yet surfaced indicating that Stravinsky explicitly referenced Debussy’s Élégie , the similarities between the two compositions encourage deeper introspection. It is not unreasonable to suggest that Stravinsky’s viola work may subtly incorporate elements that acknowledge both his connection to the Impressionist tradition and his personal relationship with his late friend. From this perspective, meaningful connections can be drawn between Stravinsky’s Élégie , composed in memory of a recently deceased musician and shaped by themes of mourning, and Debussy’s work, which likewise engages with loss and reflection. The shared focus on death and remembrance reinforces the parallels between the two pieces and, given the historical and personal relationship between the composers, renders these thematic connections particularly compelling. Closing Thoughts Igor Stravinsky made a significant contribution to the twentieth-century repertoire with the composition Élégie for Solo Viola, a work that offers valuable insight into his evolving stylistic approaches. Situated within a period often described by analysts as stylistically “transitional,” the piece reflects Stravinsky’s lingering connections to the Impressionist tradition alongside his continued willingness to experiment with alternative tonal constructions. The work incorporates a range of techniques characteristic of twentieth-century composition, including rhythmic and intervallic displacement, superimposition, and the use of multiple scale types—both symmetrical, such as the octatonic, and asymmetrical, including Phrygian and Lydian—all unified within a cohesive harmonic language articulated through ternary form. At the heart of Stravinsky’s work is the monumental two-part counterpoint structure, which evolves from the basis of displacement and further pushes the boundaries of modal ambiguity, leaving a lasting impression. Debussy’s piano Élégie i s a stylistic rarity in his output of literature and invites further historical

and analytical inquiry. The selected parallels presented in this research offer the gift of introspection and allow Stravinsky’s composition to be viewed through an expanded interpretive lens.

Footnotes 1 The full extensive story can be found in Chapter 29 of David Bynog’s book “ Notes for Violists: A Guide to the Repertoire.” 2 Stravinsky wrote many compositions for violin, including his Violin concerto in D major, a Duo Concertante, and two short pieces as a result of a collaboration with violinist Samuel Dushkin. His most prominent cello work was additionally a result of a collaboration with performer Gregor Piatigorsky. 3 Mark McFarland, The Musical Relationship Between Claude Debussy and Igor Stravinsky , United Kingdom: University of Rochester Press, 2024. 4 Robert Craft, “ Conversations with Igor Stravinsky and Robert Craft, ” Internet Archive , Doubleday Amp Company, Inc., 1 Jan. 1970. In this particular edition (published in 1959), conversations and references to Stravinsky and Debussy’s interactions can be found on pages 31, 39, 50-59, 60, 63, 65, 75, and 131. These sections are letters taking place between 1913-15 and indicate certain pieces of information that connect the two composers together. 5 Symmetrical referring to some of the following: octatonic, chromatic, whole tone, diminished; Asymmetrical regarding scale modes. 6 Dmitri Tymoczko, Stravinsky and the Octatonic: A Reconsideration . Music Theory Spectrum , 24:1, 2002. Quote from page 1, paragraph 2. 7 Pieter C. van den Toorn, The Music of Stravinsky: Collected Essays (with contributions from Richard Taruskin and Dmitri Tymoczko). A highly regarded and recited source amongst theorists that focuses on the composing evolution of Stravinsky. 8 Pieter C. van den Toorn, “Chapter 8: Stravinsky, Adorno, and the Art of Displacement,” in The Music of Stravinsky: Collected Essays. 9 Robert Craft, “Chapter on “Harmony, Melody, Rhythm,” in Conversations with Igor Stravinsky and Robert Craft , 121. 10 David Bynog, “Chapter 29.” Notes for Violists: A Guide to the Repertoire. 11 Editing commentary notes for the performer, written on the score under the last line of the A section. It is

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Journal of the American Viola Society / Vol. 42, No. 1, Spring 2026