Abstract
Wuorinen's Reliquary for Igor Stravinsky is based on the Russian composer's final sketches; Wuorinen used these as the basis for a symphonic work of great depth and intensity. In the work's opening section, the younger composer fashioned a musical continuity by forging together some of the sketches and elaborating others. In certain cases, notes were added to complete the underlying tone-rows; usually fragments had to be orchestrated. This article describes some of Wuorinen's far-reaching transformations of Stravinsky's serial procedures, and his exploration of some new 12-tone operations. There is a consideration of the work's formal dimensions, and its subtle use of pitch centricity.
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