Abstract

Upon re-reading George Perle's Serial Composition and Atonality in its third edition1 I am reminded of what seemed already in 1958 a strange omission in writings on Stravinsky's development as a serialist, for, while studying Orpheus (1947) I discovered an unmistakable use of row technique in two of its movements, an early instance of which seems not to have been commented upon before or since.2 Writers on the subject seem to draw from a common source (probably Robert Craft) when they state that the first essay in serialism was in the Ricercar II of the Cantata (1952),3 following the first years of Stravinsky's association with Craft. The very man who had long represented a supposed alternative to serialism was persuaded by Craft to become interested in adopting that very technique; this then marked the end of Stravinsky's neo-classical period and the beginning of his final, dodecaphonic, period. Craft wrote:

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