document_title: Igor Stravinsky

question_text: name the three compositional style periods of stravinksy

question_tokens: name the three compositional style periods of stravinksy

text: Igor Stravinsky

text: Biography[edit]

text: Early life in the Russian Empire[edit]

text: Stravinsky was born on 17 June 1882 in Oranienbaum, a suburb of Saint Petersburg, the Russian imperial capital,[1] and was brought up in Saint Petersburg.[2] His parents were Fyodor Stravinsky (1843–1902), a well-known bass at the Kiev opera house and the Mariinsky Theatre in St. Petersburg, and Anna (née Kholodovsky; 1854-1939), a native of Kiev, one of four daughters of a high-ranking official in the Kiev Ministry of Estates. Fyodor was "descended from a long line of Polish grandees, senators and landowners."[3] It is believed that Stravinsky’s ancestry is traceable back to the 17th and 18th centuries, to the bearers of the Soulima and Strawinski Coat of Arms.[4] Stravinsky's family branch most likely came from Stravinskas, polonized Lithuanian (or Belarussian) land owners, and nobles of the Grand Duchy of Lithuania. According to Stravinsky himself, his family originally had a Soulima-Stravinsky surname, and the name "Stravinsky" originated from the word "Strava", which is one of the variants of the Streva River in Lithuania (Trakai and Kaunas District). It is still unclear exactly when the Soulima part of the surname was dropped.[clarification needed][5][6][page needed][7][8]

text: Stravinsky recalled his schooldays as being lonely, later saying that "I never came across anyone who had any real attraction for me".[9] Stravinsky began piano lessons as a young boy, studying music theory and attempting composition. In 1890, he saw a performance of Tchaikovsky's ballet The Sleeping Beauty at the Mariinsky Theatre. By age fifteen, he had mastered Mendelssohn's Piano Concerto in G minor and finished a piano reduction of a string quartet by Glazunov, who reportedly considered Stravinsky unmusical and thought little of his skills.[10]

text: Despite his enthusiasm for music, his parents expected him to study law. Stravinsky enrolled at the University of Saint Petersburg in 1901, but he attended fewer than fifty class sessions during his four years of study.[11] In the summer of 1902, Stravinsky stayed with composer Nikolai Rimsky-Korsakov and his family in the German city of Heidelberg, where Rimsky-Korsakov, arguably the leading Russian composer at that time, suggested to Stravinsky that he should not enter the Saint Petersburg Conservatoire but instead study composing by taking private lessons, in large part because of his age.[12] Stravinsky's father died of cancer that year, by which time his son had already begun spending more time on his musical studies than on law.[13] The university was closed for two months in 1905 in the aftermath of Bloody Sunday:[14] Stravinsky was prevented from taking his final law examinations and later received a half-course diploma in April 1906.[3] Thereafter, he concentrated on studying music. In 1905, he began to take twice-weekly private lessons from Rimsky-Korsakov, whom he came to regard as a second father.[11] These lessons continued until Rimsky-Korsakov's death in 1908.[15]

text: In 1905, Stravinsky was engaged to his cousin Katherine Gavrylivna Nosenko (called "Katya"), whom he had known since early childhood.[16] In spite of the Orthodox Church's opposition to marriage between first cousins, the couple married on 23 January 1906: their first two children, Fyodor (Theodore) and Ludmila, were born in 1907 and 1908, respectively.[17]

text: In February 1909, two of Stravinsky's orchestral works, the Scherzo fantastique and Feu d'artifice (Fireworks) were performed at a concert in Saint Petersburg, where they were heard by Serge Diaghilev, who was at that time involved in planning to present Russian opera and ballet in Paris. Diaghilev was sufficiently impressed by Fireworks to commission Stravinsky to carry out some orchestrations and then to compose a full-length ballet score, The Firebird.[18]

text: Stravinsky and Ukraine[edit]

text: This section may lend undue weight to certain ideas, incidents, or controversies. Please help to create a more balanced presentation. Discuss and resolve this issue before removing this message. (November 2017)

text: From approximately 1890 until 1914 the composer frequently visited Ustilug, a town in the modern Volyn Oblast, Ukraine.[19] He spent most of his summers there, where he also met his cousin, Katherine Nosenko (daughter of his mother’s sister), whom he married in 1906. In 1907, Stravinsky designed and built his own house in Ustilug, which he called "my heavenly place".[20]  In this house, Stravinsky worked on seventeen of his early compositions, among them Feu d'artifice, The Firebird, Petrushka, and The Rite of Spring. Recently renovated, this is the only Stravinsky house-museum that is open to the public. Many documents, letters, and photographs are on display there, and a Stravinsky Festival is held annually in the nearby town of Lutsk.[citation needed][21]

text: Life in Switzerland[edit]

text: Stravinsky became an overnight sensation following the success of the Firebird's premiere in Paris on 25 June 1910.[22] The composer had travelled from his estate in Ustilug to Paris in early June to attend the final rehearsals and the premiere of The Firebird.[23] His family joined him before the end of the ballet season and they decided to remain in the West for a time, as his wife was expecting their third child. After spending the summer in La Baule, Brittany, they moved to Switzerland in early September. On 23 September, their second son Sviatoslav Soulima was born at a maternity clinic in Lausanne; at the end of the month, they took up residence in Clarens.[24]

text: Over the next four years, Stravinsky and his family lived in Russia during the summer months and spent each winter in Switzerland.[25] During this period, Stravinsky composed two further works for the Ballets Russes: Petrushka (1911), and The Rite of Spring (1913). Shortly following the premiere of The Rite of Spring on 29 May 1913, Stravinsky contracted typhoid from eating bad oysters, and was confined to a Paris nursing home, unable to depart for Ustilug until 11 July.[26]

text: During the remainder of the summer, Stravinsky turned his attention to completing his first opera, the Nightingale (usually known by its French title Le Rossignol), which he had begun in 1908 (that is, before his association with the Ballets Russes).[27] The work had been commissioned by the Moscow Free Theatre for the handsome fee of 10,000 rubles.[28]

text: The Stravinsky family returned to Switzerland (as usual) in the fall of 1913. On 15 January 1914, a fourth child, Marie Milène (or Maria Milena), was born in Lausanne. After her delivery, Katya was discovered to have tuberculosis and was confined to the sanatorium at Leysin, high in the Alps. Igor and the family took up residence nearby,[29] and he completed Le Rossignol there on 28 March.[30]

text: In April, they were finally able to return to Clarens.[31]  By then, the Moscow Free Theatre had gone bankrupt.[31]  As a result, Le Rossignol was first performed under Diaghilev's auspices at the Paris Opéra on 26 May 1914, with sets and costumes designed by Alexandre Benois.[32] Le Rossignol enjoyed only lukewarm success with the public and the critics, apparently because its delicacy did not meet their expectations of the composer of The Rite of Spring.[30]  However, composers including Maurice Ravel, Béla Bartók, and Reynaldo Hahn found much to admire in the score's craftsmanship, even alleging to detect the influence of Arnold Schoenberg.[33]

text: In July, with war looming, Stravinsky made a quick trip to Ustilug to retrieve personal effects including his reference works on Russian folk music.   He returned to Switzerland just before national borders closed following the outbreak of World War I.[34] The war and subsequent Russian Revolution made it impossible for Stravinsky to return to his homeland, and he did not set foot upon Russian soil again until October 1962.[35]

text: In June 1915, Stravinsky and his family moved from Clarens to Morges, a town six miles south-west of Lausanne on the shore of Lake Geneva. The family lived there (at three different addresses) until 1920.[36]

text: Stravinsky struggled financially during this period. Russia (and its successor, the USSR) did not adhere to the Berne Convention and this created problems for Stravinsky when collecting royalties for the performances of all his Ballets Russes compositions.[37] Stravinsky blamed Diaghilev for his financial troubles, accusing him of failing to live up to the terms of a contract they had signed.[13] He approached the Swiss philanthropist Werner Reinhart for financial assistance while he was writing L'Histoire du soldat (The Soldier's Tale). Reinhart sponsored and largely underwrote its first performance, conducted by Ernest Ansermet on 28 September 1918 at the Théâtre Municipal de Lausanne.[38] In gratitude, Stravinsky dedicated the work to Reinhart and gave him the original manuscript.[39] Reinhart supported Stravinsky further when he funded a series of concerts of his chamber music in 1919: included was a suite from L'Histoire du soldat arranged for violin, piano and clarinet,[40] which was first performed on 8 November 1919, in Lausanne.[41] In gratitude to his benefactor, Stravinsky also dedicated his Three Pieces for Clarinet (October–November 1918) to Reinhart, who was an excellent amateur clarinetist.[42]

text: Life in France[edit]

text: Following the premiere of Pulcinella by the Ballets Russes in Paris on 15 May 1920, Stravinsky returned to Switzerland.[43] On 8 June, the entire family left Morges for the last time, and moved to the fishing village of Carantec in Brittany for the summer while also seeking a new home in Paris.[44] On hearing of their dilemma, couturière Coco Chanel invited Stravinsky and his family to reside at her new mansion "Bel Respiro" in the Paris suburb of Garches until they could find a more suitable residence; they arrived during the second week of September.[45]  At the same time, Chanel also guaranteed the new (December 1920) Ballets Russes production of Stravinsky's The Rite of Spring with an anonymous gift to Diaghilev, said to have been 300,000 francs.[46]

text: Stravinsky formed a business and musical relationship with the French piano manufacturing company Pleyel. Pleyel essentially acted as his agent in collecting mechanical royalties for his works and provided him with a monthly income and a studio space at its headquarters in which he could work and entertain friends and business acquaintances.[47] Under the terms of his contract with the company, Stravinsky agreed to arrange (and to some extent re-compose) many of his early works for the Pleyela, Pleyel's brand of player piano.[48] He did so in a way that made full use of all of the piano's eighty-eight notes, without regard for human fingers or hands. The rolls were not recorded, but were instead marked up from a combination of manuscript fragments and handwritten notes by Jacques Larmanjat, musical director of Pleyel's roll department. Among the compositions that were issued on the Pleyela piano rolls are The Rite of Spring, Petrushka, The Firebird, and Song of the Nightingale. During the 1920s, Stravinsky recorded Duo-Art rolls for the Aeolian Company in both London and New York, not all of which have survived.[49]

text: Patronage was never far away. In the early 1920s, Leopold Stokowski gave Stravinsky regular support through a pseudonymous 'benefactor'.[50]

text: Stravinsky met Vera de Bosset in Paris in February 1921,[51] while she was married to the painter and stage designer Serge Sudeikin, and they began an affair that led to Vera leaving her husband.[52]

text: In May 1921, Stravinsky and his family moved to Anglet, near Biarritz, southwestern France.[53] From then until his wife's death in 1939, Stravinsky led a double life, dividing his time between his family in Anglet, and Vera in Paris and on tour.[54] Katya reportedly bore her husband's infidelity "with a mixture of magnanimity, bitterness, and compassion".[55]

text: In September 1924, Stravinsky bought "an expensive house" in Nice:  the Villa des Roses.[56]

text: From 1931 to 1933, the Stravinskys lived in Voreppe, near Grenoble, southeastern France.[57]

text: The Stravinskys became French citizens in 1934 and moved to the rue du Faubourg Saint-Honoré in Paris.[58] Stravinsky later remembered this last European address as his unhappiest, as his wife's tuberculosis infected both himself and his eldest daughter Ludmila, who died in 1938. Katya, to whom he had been married for 33 years, died of tuberculosis three months later, in March 1939.[59] Stravinsky himself spent five months in hospital, during which time his mother died.[60] During his later years in Paris, Stravinsky had developed professional relationships with key people in the United States: he was already working on his Symphony in C for the Chicago Symphony Orchestra[61] and he had agreed to deliver the prestigious Charles Eliot Norton Lectures at Harvard University during the 1939–40 academic year.[62]

text: Life in the United States[edit]

text: Despite the outbreak of World War II on 1 September 1939, the widowed Stravinsky sailed (alone) for the United States at the end of the month, arriving in New York City and thence to Cambridge, Massachusetts, to fulfill his engagement at Harvard.[63][page needed] Vera followed him in January, and they were married in Bedford, Massachusetts, on 9 March 1940.[64]

text: Stravinsky settled in West Hollywood.[65] He spent more time living in Los Angeles than any other city.[66] He became a naturalized United States citizen in 1945.[67]

text: Stravinsky had adapted to life in France, but moving to America at the age of 57 was a very different prospect. For a while, he maintained a circle of contacts and émigré friends from Russia, but he eventually found that this did not sustain his intellectual and professional life. He was drawn to the growing cultural life of Los Angeles, especially during World War II, when so many writers, musicians, composers and conductors settled in the area: these included Otto Klemperer, Thomas Mann, Franz Werfel, George Balanchine and Arthur Rubinstein. Bernard Holland claimed Stravinsky was especially fond of British writers, who visited him in Beverly Hills, "like W. H. Auden, Christopher Isherwood, Dylan Thomas. They shared the composer's taste for hard spirits – especially Aldous Huxley, with whom Stravinsky spoke in French".[66] Stravinsky and Huxley had a tradition of Saturday lunches for west coast avant-garde and luminaries.[68]

text: Stravinsky's unconventional dominant seventh chord in his arrangement of the "Star-Spangled Banner" led to an incident with the Boston police on 15 January 1944, and he was warned that the authorities could impose a $100 fine upon any "re-arrangement of the national anthem in whole or in part".[69] The police, as it turned out, were wrong. The law in question merely forbade using the national anthem "as dance music, as an exit march, or as a part of a medley of any kind",[70] but the incident soon established itself as a myth, in which Stravinsky was supposedly arrested, held in custody for several nights, and photographed for police records.[71]

text: Stravinsky's professional life encompassed most of the 20th century, including many of its modern classical music styles, and he influenced composers both during and after his lifetime. Included among his students in the 1940s was the American composer and music educator Robert Strassburg.[72][73] In 1959, he was awarded the Sonning Award, Denmark's highest musical honour. In the early 1960s his students included Robert Craft and Warren Zevon.[74] In 1962, he accepted an invitation to return to Leningrad for a series of concerts. During his stay in the USSR, he visited Moscow and met several leading Soviet composers, including Dmitri Shostakovich and Aram Khachaturian.[75]

text: In 1969, Stravinsky moved to the Essex House in New York, where he lived until his death in 1971 at age 88 of heart failure.[76] He was buried at San Michele, close to the tomb of Sergei Diaghilev.[77]

text: He has a star on the Hollywood Walk of Fame and in 1987 he was posthumously awarded the Grammy Award for Lifetime Achievement. He was posthumously inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in 2004.

text: Music[edit]

text: Stravinsky's output is typically divided into three general style periods: a Russian period, a neoclassical period, and a serial period.

text: Russian period (c. 1907–1919)[edit]

text: Aside from a very few surviving earlier works, Stravinsky's Russian period, sometimes called primitive period, began with compositions undertaken under the tutelage of Nikolai Rimsky-Korsakov, with whom he studied from 1905 until Rimsky's death in 1908, including the orchestral works Symphony in E♭ major (1907), Faun and Shepherdess (for mezzo-soprano and orchestra; 1907), Scherzo fantastique (1908), and Feu d'artifice (1908/9).[78]  These works clearly reveal the influence of Rimsky-Korsakov, but as Richard Taruskin has shown, they also reveal Stravinsky's knowledge of music by Glazunov, Taneyev, Tchaikovsky, Wagner, Dvořák, and Debussy, among others.[79]

text: In 1908, Stravinsky composed Funeral Song (Погребальная песня), Op. 5 to commemorate the death of Nikolai Rimsky-Korsakov. The piece premiered 17 January 1909 in the Grand Hall of the Saint Petersburg Conservatory but was then lost until September 2015, when it resurfaced in a back room of the city's Conservatoire.[80] It was played again for the first time in over a century on 2 December 2016. The rediscovery generated much enthusiasm and, as a result, over 25 performances are scheduled in 2017 and beyond.[81]

text: Performances in St. Petersburg of Scherzo fantastique and Feu d'artifice attracted the attention of Serge Diaghilev, who commissioned Stravinsky to orchestrate two piano works of Chopin for the ballet Les Sylphides to be presented in the 1909 debut "Saison Russe" of his new ballet company.[82]

text: The Firebird was first performed at the Paris Opéra on 25 June 1910 by Diaghilev's Ballets Russes. Like Stravinsky's earlier student works, The Firebird continued to look backward to Rimsky-Korsakov not only in its orchestration, but also in its overall structure, harmonic organization, and melodic content.[83]

text: According to Taruskin, Stravinsky's second ballet for the Ballet Russes, Petrushka, is where "Stravinsky at last became Stravinsky."[84]

text: The music itself makes significant use of a number of Russian folk tunes in addition to two waltzes by Viennese composer Joseph Lanner and a French music hall tune (La Jambe en bois or The Wooden Leg).[85]

text: In April 1915, Stravinsky received a commission from Winnaretta Singer (Princesse Edmond de Polignac) for a small-scale theatrical work to be performed in her Paris salon. The result was Renard (1916), which he called "A burlesque in song and dance".[86] Renard was Stravinsky's first venture into experimental theatre: the composer's preface to the score specifies a trestle stage on which all the performers (including the instrumentalists) were to appear simultaneously and continuously.[citation needed]

text: Neoclassical period (c. 1920–1954)[edit]

text: Apollon musagète (1928), Perséphone (1933) and Orpheus (1947) exemplify not only Stravinsky's return to the music of the Classical period but also his exploration of themes from the ancient Classical world, such as Greek mythology. Important works in this period include the Octet (1923), the Concerto for Piano and Winds (1924), the Serenade in A (1925), and Symphony of Psalms (1930).

text: In 1951, he completed his last neoclassical work, the opera The Rake's Progress to a libretto by W. H. Auden and Chester Kallman based on the etchings of William Hogarth. It premiered in Venice that year and was produced around Europe the following year before being staged in the New York Metropolitan Opera in 1953.[87] It was staged by the Santa Fe Opera in a 1962 Stravinsky Festival in honor of the composer's 80th birthday and was revived by the Metropolitan Opera in 1997.[citation needed]

text: Serial period (1954–1968)[edit]

text: In the 1950s, Stravinsky began using serial compositional techniques such as dodecaphony, the twelve-tone technique originally devised by Arnold Schoenberg.[88] He first experimented with non-twelve-tone serial techniques in small-scale vocal and chamber works such as the Cantata (1952), the Septet (1953) and Three Songs from Shakespeare (1953). The first of his compositions fully based on such techniques was In Memoriam Dylan Thomas (1954). Agon (1954–57) was the first of his works to include a twelve-tone series and Canticum Sacrum (1955) was the first piece to contain a movement entirely based on a tone row.[89] Stravinsky expanded his use of dodecaphony in works such as Threni (1958) and A Sermon, a Narrative and a Prayer (1961), which are based on biblical texts,[90] and The Flood (1962), which mixes brief biblical texts from the Book of Genesis with passages from the York and Chester Mystery Plays.[91]

text: Innovation and influence[edit]

text: Stravinsky has been called "one of music's truly epochal innovators".[92] The most important aspect of Stravinsky's work, aside from his technical innovations (including in rhythm and harmony), is the 'changing face' of his compositional style while always 'retaining a distinctive, essential identity'.[92]

text: Stravinsky's use of motivic development (the use of musical figures that are repeated in different guises throughout a composition or section of a composition) included additive motivic development. This is where notes are subtracted or added to a motif without regard to the consequent changes in metre. A similar technique can be found as early as the 16th century, for example in the music of Cipriano de Rore, Orlandus Lassus, Carlo Gesualdo and Giovanni de Macque, music with which Stravinsky exhibited considerable familiarity.[93]

text: The Rite of Spring is notable for its relentless use of ostinati, for example in the eighth-note ostinato on strings accented by eight horns in the section "Augurs of Spring (Dances of the Young Girls)". The work also contains passages where several ostinati clash against one another. Stravinsky was noted for his distinctive use of rhythm, especially in the Rite of Spring (1913).[94] According to the composer Philip Glass, "the idea of pushing the rhythms across the bar lines [...] led the way [...]. The rhythmic structure of music became much more fluid and in a certain way spontaneous".[95] Glass mentions Stravinsky's "primitive, offbeat rhythmic drive".[96] According to Andrew J. Browne, "Stravinsky is perhaps the only composer who has raised rhythm in itself to the dignity of art".[97] Stravinsky's rhythm and vitality greatly influenced the composer Aaron Copland.[98]

text: Over the course of his career, Stravinsky called for a wide variety of orchestral, instrumental, and vocal forces, ranging from single instruments in such works as Three Pieces for Clarinet (1918) or Elegy for Solo Viola (1944) to the enormous orchestra of The Rite of Spring (1913), which Aaron Copland characterized as "the foremost orchestral achievement of the 20th century."[99]

text: Stravinsky’s creation of unique and idiosyncratic ensembles arising from the specific musical nature of individual works is a basic element of his style.[citation needed]

text: Following the model of his teacher, Nikolai Rimsky-Korsakov, Stravinsky’s student works such as the Symphony in E♭, Op. 1 (1907), Scherzo fantastique, Op. 3 (1908), and Fireworks (Feu d'artifice), Op. 4 (1908), call for large orchestral forces. This is not surprising, as the works were as much exercises in orchestration as in composition.[citation needed] The Symphony, for example, calls for 3 flutes (3rd doubles piccolo); 2 oboes; 3 clarinets in B♭; 2 bassoons; 4 horns in F; 3 trumpets in B♭; 3 trombones, tuba, timpani, bass drum, triangle, cymbals, and strings.[100]  The Scherzo fantastique calls for a slightly larger orchestra but completely omits trombones: this was Stravinsky’s response to Rimsky’s criticism of their overuse in the Symphony.[101]

text: The three ballets composed for Diaghilev's Ballets Russes call for particularly large orchestras:

text:
The Firebird (1910) requires winds in fours, 4 horns, 3 trumpets (in A), 3 trombones, tuba, celesta, 3 harps, piano, and strings. The percussion section calls for timpani, bass drum, cymbals, triangle, tambourine, tamtam, tubular bells, glockenspiel, and xylophone. In addition, the original version calls for 3 onstage trumpets and 4 onstage Wagner tubas (2 tenor and 2 bass).[citation needed]
The original version of Petrushka (1911) calls for a similar orchestra (without onstage brass, but with the addition of onstage snare drum). The particularly prominent role of the piano is the result of the music's origin as a Konzertstück for piano and orchestra.[citation needed]
The Rite of Spring (1913) calls for the largest orchestra Stravinsky ever employed: piccolo, 3 flutes (3rd doubles 2nd piccolo), alto flute, 4 oboes (4th doubles 2nd cor anglais), cor anglais, piccolo clarinet in D/E♭, 3 clarinets (3rd doubles 2nd bass clarinet), bass clarinet, piccolo clarinet, 4 bassoons (4th doubles 2nd contrabassoon), contrabassoon, 8 horns (7th and 8th double tenor Wagner tubas), piccolo trumpet in D, 4 trumpets in C (4th doubles bass trumpet in E♭), 3 trombones (2 tenor, 1 bass), 2 tubas. Percussion includes 5 timpani (2 players), bass drum, tamtam, triangle, tambourine, cymbals, antique cymbals, guiro, and strings. (Piano, celesta, and harp are not included.)[citation needed]

text: Personality[edit]

text: Stravinsky displayed a taste in literature that was wide and reflected his constant desire for new discoveries. The texts and literary sources for his work began with a period of interest in Russian folklore, which progressed to classical authors and the Latin liturgy and moved on to contemporary France (André Gide, in Persephone) and eventually English literature, including W. H. Auden, T. S. Eliot, and medieval English verse.

text: He also had an inexhaustible desire to explore and learn about art, which manifested itself in several of his Paris collaborations. Not only was he the principal composer for Diaghilev's Ballets Russes, but he also collaborated with Pablo Picasso (Pulcinella, 1920), Jean Cocteau (Oedipus Rex, 1927), and George Balanchine (Apollon musagète, 1928). His interest in art propelled him to develop a strong relationship with Picasso, whom he met in 1917, announcing that in "a whirlpool of artistic enthusiasm and excitement I at last met Picasso."[102] From 1917 to 1920, the two engaged in an artistic dialogue in which they exchanged small-scale works of art to each other as a sign of intimacy, which included the famous portrait of Stravinsky by Picasso,[103][not in citation given] and Stravinsky's "Sketch of Music for the Clarinet". This exchange was essential to establish how the artists would approach their collaborative space in Pulcinella.[104][page needed]

text: The young Stravinsky was sympathetic to bourgeois liberalism and the aims of the Constitutional Democratic Party, even composing an anthem for the Russian Provisional Government, before shifting heavily towards the right following the October Revolution.[105] In 1930, he remarked, "I don't believe that anyone venerates Mussolini more than I ... I know many exalted personages, and my artist's mind does not shrink from political and social issues. Well, after having seen so many events and so many more or less representative men, I have an overpowering urge to render homage to your Duce. He is the saviour of Italy and – let us hope – Europe". Later, after a private audience with Mussolini, he added, "Unless my ears deceive me, the voice of Rome is the voice of Il Duce. I told him that I felt like a fascist myself... In spite of being extremely busy, Mussolini did me the great honour of conversing with me for three-quarters of an hour. We talked about music, art and politics".[106] When the Nazis placed Stravinsky's works on the list of "Entartete Musik", he lodged a formal appeal to establish his Russian genealogy and declared, "I loathe all communism, Marxism, the execrable Soviet monster, and also all liberalism, democratism, atheism, etc."[107][page needed]

text: Upon relocating to America in the 1940s, Stravinsky again embraced the liberalism of his youth, remarking that Europeans "can have their generalissimos and Führers. Leave me Mr. Truman and I'm satisfied."[108][109] Towards the end of his life, at Craft's behest, Stravinsky made a return visit to his native country and composed a cantata in Hebrew, travelling to Israel for its performance.[88]

text: Stravinsky proved adept at playing the part of a 'man of the world', acquiring a keen instinct for business matters and appearing relaxed and comfortable in public. His successful career as a pianist and conductor took him to many of the world's major cities, including Paris, Venice, Berlin, London, Amsterdam and New York and he was known for his polite, courteous and helpful manner. Stravinsky was reputed to have been a philanderer and was rumoured to have had affairs with high-profile partners, such as Coco Chanel. He never referred to it himself, but Chanel spoke about the alleged affair at length to her biographer Paul Morand in 1946; the conversation was published thirty years later.[110] The accuracy of Chanel's claims has been disputed by both Stravinsky's widow, Vera, and by Craft.[111] Chanel's fashion house avers there is no evidence that any affair between Chanel and Stravinsky ever occurred.[112] A fictionalization of the supposed affair formed the basis of the novel Coco and Igor (2002) and a film, Coco Chanel & Igor Stravinsky (2009). Despite these alleged liaisons, Stravinsky was considered a family man and devoted to his children.[113][page needed]

text: Religion[edit]

text: Stravinsky was a devout member of the Russian Orthodox Church during most of his life, remarking at one time that, "Music praises God. Music is well or better able to praise him than the building of the church and all its decoration; it is the Church's greatest ornament".[114]

text: Although Stravinsky was not outspoken about his faith, he was a deeply religious man throughout some periods of his life. As a child, he was brought up by his parents in the Russian Orthodox Church. Baptized at birth, he later rebelled against the Church and abandoned it by the time he was fourteen or fifteen years old.[115] Throughout the rise of his career he was estranged from Christianity and it was not until he reached his early forties that he experienced a spiritual crisis. After befriending a Russian Orthodox priest, Father Nicholas, after his move to Nice in 1924, he reconnected with his faith. He rejoined the Russian Orthodox Church and afterwards remained a committed Christian.[116] Robert Craft noted that Stravinsky prayed daily, before and after composing, and also prayed when facing difficulty.[117] Towards the end of his life, he was no longer able to attend church services. In his late seventies, Stravinsky said:

text: I cannot now evaluate the events that, at the end of those thirty years, made me discover the necessity of religious belief. I was not reasoned into my disposition. Though I admire the structured thought of theology (Anselm's proof in the Fides Quaerens Intellectum, for instance) it is to religion no more than counterpoint exercises are to music. I do not believe in bridges of reason or, indeed, in any form of extrapolation in religious matters. ... I can say, however, that for some years before my actual "conversion", a mood of acceptance had been cultivated in me by a reading of the Gospels and by other religious literature.[118]

text: Reception[edit]

text: If Stravinsky's stated intention was "to send them all to hell",[119] then he may have rated the 1913 premiere of The Rite of Spring as a success: it is a famous classical music riot and Stravinsky referred to it on several occasions in his autobiography as a scandale.[120] There were reports of fistfights in the audience and the need for a police presence during the second act. The real extent of the tumult is open to debate and the reports may be apocryphal.[121]

text: In 1998, Time magazine named Stavinsky as one of the 100 most influential people of the century.[122]  In addition to the recognition he received for his compositions, he achieved fame as a pianist and a conductor, often at the premieres of his works. In 1923, Erik Satie wrote an article about Igor Stravinsky in Vanity Fair.[123] Satie had met Stravinsky for the first time in 1910. In the published article, Satie argued that measuring the "greatness" of an artist by comparing him to other artists, as if speaking about some "truth", is illusory and that every piece of music should be judged on its own merits and not by comparing it to the standards of other composers. That was exactly what Jean Cocteau did when he commented deprecatingly on Stravinsky in his 1918 book, Le Coq et l'Arlequin.[124][page needed]

text: According to The Musical Times in 1923:

text: All the signs indicate a strong reaction against the nightmare of noise and eccentricity that was one of the legacies of the war.... What (for example) has become of the works that made up the program of the Stravinsky concert which created such a stir a few years ago? Practically the whole lot are already on the shelf, and they will remain there until a few jaded neurotics once more feel a desire to eat ashes and fill their belly with the east wind.[125]

text: In 1935, the American composer Marc Blitzstein compared Stravinsky to Jacopo Peri and C.P.E. Bach, conceding that, "there is no denying the greatness of Stravinsky. It is just that he is not great enough".[126] Blitzstein's Marxist position was that Stravinsky's wish to "divorce music from other streams of life", which is "symptomatic of an escape from reality", resulted in a "loss of stamina", naming specifically Apollo, the Capriccio, and Le Baiser de la fée.[127]

text: The composer Constant Lambert described pieces such as L'Histoire du soldat as containing "essentially cold-blooded abstraction".[128] Lambert continued, "melodic fragments in Histoire du Soldat are completely meaningless themselves. They are merely successions of notes that can conveniently be divided into groups of three, five, and seven and set against other mathematical groups" and he described the cadenza for solo drums as "musical purity ... achieved by a species of musical castration". He compared Stravinsky's choice of "the drabbest and least significant phrases" to Gertrude Stein's 'Everyday they were gay there, they were regularly gay there everyday' ("Helen Furr and Georgine Skeene", 1922), "whose effect would be equally appreciated by someone with no knowledge of English whatsoever".[129]

text: In his 1949 book Philosophy of Modern Music, Theodor W. Adorno described Stravinsky as an acrobat and spoke of hebephrenic and psychotic traits in several of Stravinsky's works. Contrary to a common misconception, Adorno didn't believe the hebephrenic and psychotic imitations that the music was supposed to contain were its main fault, as he pointed out in a postscript that he added later to his book. Adorno's criticism of Stravinsky is more concerned with the "transition to positivity" Adorno found in his neoclassical works.[130] Part of the composer's error, in Adorno's view, was his neoclassicism,[131] but of greater importance was his music's "pseudomorphism of painting", playing off le temps espace (time-space) rather than le temps durée (time-duration) of Henri Bergson.[132] According to Adorno, "one trick characterizes all of Stravinsky's formal endeavors: the effort of his music to portray time as in a circus tableau and to present time complexes as though they were spatial. This trick, however, soon exhausts itself".[133] Adorno maintained that the "rhythmic procedures closely resemble the schema of catatonic conditions. In certain schizophrenics, the process by which the motor apparatus becomes independent leads to infinite repetition of gestures or words, following the decay of the ego".[134]

text:
Stravinsky's reputation in Russia and the USSR rose and fell. Performances of his music were banned from around 1933 until 1962, the year Nikita Khrushchev invited him to the USSR for an official state visit. In 1972, an official proclamation by the Soviet Minister of Culture, Yekaterina Furtseva, ordered Soviet musicians to "study and admire" Stravinsky's music and she made hostility toward it a potential offence.[specify][135][136]
While Stravinsky's music has been criticized for its range of styles, scholars had "gradually begun to perceive unifying elements in Stravinsky's music" by the 1980s. Earlier writers, such as Aaron Copland, Elliott Carter, and Boris de Schloezer held somewhat unfavorable views of Stravinsky's works, and Virgil Thomson, writing in Modern Music (a quarterly review published between 1925 and 1946), could find only a common "'seriousness' of 'tone' or of 'purpose', 'the exact correlation between the goal and the means', or a dry 'ant-like neatness'".[137]

text: Stravinsky was honored in 1982 by the United States Postal Service with a 2¢ postage stamp in the Great Americans series.

text: Awards[edit]

text:
1954: Royal Philharmonic Society Gold Medal
1959: Léonie Sonning Music Prize
1963: Wihuri Sibelius Prize
Grammy Awards
1962: Best Classical Composition by Contemporary Composer (The Flood)[138]
1962: Best Classical Performance – Orchestra (The Firebird, Igor Stravinsky conducting Columbia Symphony Orchestra)[138]
1962: Best Classical Performance – Instrumental Soloist (with orchestra) (Violin Concerto in D, Isaac Stern; Igor Stravinsky conducting Columbia Symphony Orchestra)[138]
1987: Lifetime Achievement (posthumous)

text: Recordings and publications[edit]

text:
3 Pieces for Clarinet Alone

Problems playing this file? See media help.

text: Igor Stravinsky found recordings a practical and useful tool in preserving his thoughts on the interpretation of his music. As a conductor of his own music, he recorded primarily for Columbia Records, beginning in 1928 with a performance of the original suite from The Firebird and concluding in 1967 with the 1945 suite from the same ballet.[139] In the late 1940s he made several recordings for RCA Victor at the Republic Studios in Los Angeles. Although most of his recordings were made with studio musicians, he also worked with the Chicago Symphony Orchestra, the Cleveland Orchestra, the CBC Symphony Orchestra, the New York Philharmonic Orchestra, the Royal Philharmonic Orchestra and the Bavarian Broadcasting Symphony Orchestra.

text: During his lifetime, Stravinsky appeared on several telecasts, including the 1962 world premiere of The Flood on CBS Television. Although he made an appearance, the actual performance was conducted by Robert Craft.[140] Numerous films and videos of the composer have been preserved.

text: Stravinsky published a number of books throughout his career, almost always with the aid of a (sometimes uncredited) collaborator. In his 1936 autobiography, Chronicle of My Life, which was written with the help of Walter Nouvel, Stravinsky included his well-known statement that "music is, by its very nature, essentially powerless to express anything at all".[141] With Alexis Roland-Manuel and Pierre Souvtchinsky, he wrote his 1939–40 Harvard University Charles Eliot Norton Lectures, which were delivered in French and first collected under the title Poétique musicale in 1942 and then translated in 1947 as Poetics of Music.[142] In 1959, several interviews between the composer and Robert Craft were published as Conversations with Igor Stravinsky,[104] which was followed by a further five volumes over the following decade. A collection of Stravinsky's writings and interviews appears under the title Confidences sur la musique (Actes Sud, 2013).

text: Notes[edit]

text:
Jump up ^ Greene 1985, p. 1101.

Jump up ^ White 1979, p. 4.

^ Jump up to: a b Walsh 2001.

Jump up ^ Walsh, Stephen (1999). "Stravinsky: A Creative Spring: Russia and France, 1882-1934 (excerpt)". The New York Times. New York City, NEW YORK, U.S.A.: The New York Times. Archived from the original on 6 March 2016. Retrieved 24 June 2017. The Stravinsky family, like the name, is Polish, a fact which needs to be stressed in view of recent and perfectly understandable attempts by Kiev scholars to claim Stravinsky as a Ukrainian of Cossack lineage. The so-called Soulima-Stravinskys are more accurately described as ‘Strawinscy Herbu Sulima,’ to adopt for the moment the old Polish spelling of the two names: that is, the Strawinscy family with the Sulima coat-of-arms. This simply means, for our purposes, that this branch of the Strawinscys claimed descent from the more ancient — probably German — house of Sulima. Stefan Strawinski traced the family tree back to the late sixteenth century, when the Strawinscys held high state office, in a kingdom where there were no hereditary titles and power was symbolized by honorific titles associated with purely ceremonial duties.

Jump up ^ Pisalnik 2012.

Jump up ^ Walsh 2000.

Jump up ^ Stravinsky and Craft 1960, p. 17.

Jump up ^ Stravinsky and Craft 1960, p. 6.

Jump up ^ Stravinsky 1962, p. 8.

Jump up ^ Dubal 2001, p. 564.

^ Jump up to: a b Dubal 2001, p. 565.

Jump up ^ White 1979, p. 8.

^ Jump up to: a b Palmer 1982.

Jump up ^ Walsh 2000, p. 83.

Jump up ^ Stravinsky 1962, p. 24.

Jump up ^ White 1979, p. 5.

Jump up ^ White 1979, pp. 11–12.

Jump up ^ White 1979, pp. 15–16.

Jump up ^ "Igor Stravinsky public museum in Ustyluh". Museums of the Volyn.

Jump up ^ "A virtual tour of the house-museum of Igor Stravinsky in Ustylug". House Museum of Igor Stravinsky in Ustylug. incognita.day.kiev.ua.

Jump up ^ "International Music Festival "Stravinsky and Ukraine" | ABOUT LUTSK | VisitLutsk.com". www.visitlutsk.com. Retrieved 2018-01-24.

Jump up ^ Walsh 2000, pp. 142–43.

Jump up ^ Walsh 2000, p. 140.

Jump up ^ Walsh 2000, p. 145.

Jump up ^ White 1979, p. 33.

Jump up ^ V. Stravinsky and Craft 1978, pp. 100, 102.

Jump up ^ V. Stravinsky and Craft 1978, pp. 111–14.

Jump up ^ V. Stravinsky and Craft 1978, p. 113.

Jump up ^ Walsh 2000, p. 224.

^ Jump up to: a b V. Stravinsky and Craft 1978, p. 119.

^ Jump up to: a b Walsh 2000, p. 233.

Jump up ^ Walsh 2000, p. 230.

Jump up ^ V. Stravinsky and Craft 1978, p. 120.

Jump up ^ Oliver 1995, p. 74.

Jump up ^ V. Stravinsky and Craft 1978, p. 469.

Jump up ^ V. Stravinsky and Craft 1978, pp. 136–37.

Jump up ^ White 1979, p. 85.

Jump up ^ White 1979, pp. 47–48.

Jump up ^ Keller 2011, p. 456.

Jump up ^ Stravinsky 1962, p. 83.

Jump up ^ White 1979, p. 50.

Jump up ^ Anonymous n.d.

Jump up ^ Walsh 2000, p. 313.

Jump up ^ Walsh 2000, p. 315.

Jump up ^ Walsh 2000, p. 318.

Jump up ^ Walsh 2000, p. 319 and fn 21.

Jump up ^ Compositions for Pianola Retrieved 3 March 2012.

Jump up ^ White 1979, p. 573.

Jump up ^ Lawson 1986, pp. 298–301.

Jump up ^ See "Stravinsky, Stokowski and Madame Incognito", Craft 1992, pp. 73–81.

Jump up ^ Walsh 2000, p. 336.

Jump up ^ Vera de Bosset Sudeikina (Vera Stravinsky) profile at bbc.co.uk. Retrieved 3 March 2012.

Jump up ^ Walsh 2000, p. 329.

Jump up ^ Cooper 2000, p. 306.

Jump up ^ Joseph 2001, p. 73.

Jump up ^ Walsh 2000, p. 193.

Jump up ^ Biography page on the Foundation dedicated to Theodore Strawinsky, son of Igor Stravinsky (in French) Retrieved 15 March 2017.

Jump up ^ White 1979, pp. 77, 84.

Jump up ^ White 1979, p. 9.

Jump up ^ Stravinsky and Craft 1960, p. 18.

Jump up ^ Joseph 2001, p. 279.

Jump up ^ Walsh 2006, p. 595.

Jump up ^ Stravinsky 1960.

Jump up ^ White 1979, p. 93.

Jump up ^ Anonymous 1957.

^ Jump up to: a b Holland 2001.

Jump up ^ White 1979, p. 390.

Jump up ^ Anonymous 2010.

Jump up ^ According to Michael Steinberg's liner notes to Stravinsky in America, RCA 09026-68865-2, p. 7, the police "removed the parts from Symphony Hall", quoted in Thom 2007, p. 50.

Jump up ^ "Mass. Gen. Laws ch. 249, § 9".

Jump up ^ Walsh 2006, p. 152.

Jump up ^ Composer Genealogies: A Compendium of Composers, Their teachers and Their Students, Pfitzinger, Scott. Roman & Littlefield. New York & London, 2017 Pg. 522 ISBN 9781442272248

Jump up ^ Pfitzinger, Scott (1 March 2017). "Composer Genealogies: A Compendium of Composers, Their Teachers, and Their Students". Rowman & Littlefield. Retrieved 25 November 2017  – via Google Books.

Jump up ^ George Plasketes (2016). Warren Zevon: Desperado of Los Angeles. Rowman & Littlefield. p. 6-7. ISBN 1442234571.

Jump up ^ White 1979, pp. 146–48.

Jump up ^ "Igor Stravinsky, the Composer, Dead at 88". The New York Times.

Jump up ^ Ruff, Willie (1991-07-24). A Call to Assembly: The Autobiography of a Musical Storyteller. BookBaby. ISBN 9781624888410.

Jump up ^ Walsh 2000, pp. 543–44.

Jump up ^ Taruskin 1996, I:pp. 163–368, chapters 3–5.

Jump up ^ Walsh, Stephen (6 September 2015). "Key Igor Stravinsky work found after 100 years". The Guardian. Archived from the original on 8 September 2015.

Jump up ^ "Stravinsky's 107-year-old Funeral Song to travel the globe". www.boosey.com. Retrieved 25 November 2017.

Jump up ^ Walsh 2000, p. 122.

Jump up ^ McFarland 1994, 219.

Jump up ^ Taruskin 1996, I:662.

Jump up ^ See: "Table I:  Folk and Popular Tunes in Petrushka." Taruskin 1996, vol. I, pp. 696–97.

Jump up ^ Stravinsky, Igor. Renard: A Burlesque in Song and Dance [Conductor's Score]. Miami, Florida: Edwin F. Kalmus & Co., Inc.

Jump up ^ Griffiths, Stravinsky, Craft, and Josipovici 1982, pp. 49–50.

^ Jump up to: a b Craft 1982

Jump up ^ Straus 2001, p. 4.

Jump up ^ White 1979, p. 510.

Jump up ^ White 1979, p. 517.

^ Jump up to: a b AMG 2008. "Igor Stravinsky" biography, AllMusic.

Jump up ^ Stravinsky and Craft 1960, pp. 116–17.

Jump up ^ Simon 2007.

Jump up ^ Simeone, Craft, and Glass 1999.

Jump up ^ Glass & 19989.

Jump up ^ Browne 1930, p. 360.

Jump up ^ BBC Radio 3 programme, "Discovering Music" near 33:30.[full citation needed]

Jump up ^ Copland 1952, p. 37.

Jump up ^ Stravinsky, Igor. Symphony No. 1 [sic]. (Moscow:  P. Jurgenson, n.d. [1914]).

Jump up ^ Taruskin 1998, p. 325..

Jump up ^ Walsh 2000, p. 276.

Jump up ^ "This ipl2 page has moved to…". www.ipl.org. Retrieved 25 November 2017.

^ Jump up to: a b Stravinsky and Craft 1959.

Jump up ^ Taruskin, Richard. Stravinsky and the Russian Traditions, Volume Two: A Biography of the Works Through Mavra. Univ of California Press. p. 1514.

Jump up ^ Sachs 1987, p. 168.

Jump up ^ Taruskin and Craft 1989.

Jump up ^ Mitchinson, Paul. "The Composer's Craft". The Nation.

Jump up ^ Walsh, Stephen. Stravinsky: The Second Exile: France and America, 1934-1971. Knopf Doubleday Publishing Group.

Jump up ^ Morand 1976, pp. 121–24.

Jump up ^ Davis 2006, p. 439.

Jump up ^ Fact-or-fiction Chanel-Stravinsky affair curtains Cannes. Swiss News, 25 May 2009. Retrieved 28 December 2010.

Jump up ^ T. Strawinsky and D. Strawinsky 2004.

Jump up ^ "Stravinsky's quotations". Brainyquote.com. 6 April 1971. Retrieved 9 March 2010.

Jump up ^ Stravinsky and Craft 1969, p. 198.

Jump up ^ Stravinsky and Craft 1960, p. 51.

Jump up ^ Stravinsky and Craft 1966, pp. 172–75.

Jump up ^ Copeland 1982, p. 565, quoting Stravinsky and Craft 1962, pp. 63– 64.

Jump up ^ Wenborn (1985, p. 17) alludes to this comment, without giving a specific source.

Jump up ^ Stravinsky 1936, 80.

Jump up ^ See Eksteins 1989, pp. 10–16 for an overview of contradictory reportage of the event by participants and the press.

Jump up ^ Glass 1998.

Jump up ^ Satie 1923.

Jump up ^ Volta 1989, first pages of chapter on contemporaries.

Jump up ^ "Occasional Notes", The Musical Times and Singing-Class Circular 64, no. 968 (1 October 1923): 712–15, quotation on 713.

Jump up ^ Blitzstein 1935, p. 330.

Jump up ^ Blitzstein 1935, pp. 346–47.

Jump up ^ Lambert 1936, p. 94.

Jump up ^ Lambert 1936, pp. 101–05.

Jump up ^ Adorno 2006, p. 167.

Jump up ^ Adorno 1973, pp. 206–209.

Jump up ^ Adorno 1973, pp. 191–93.

Jump up ^ Adorno 1973, p. 195.

Jump up ^ Adorno 1973, p. 178.

Jump up ^ Karlinsky 1985, p. 282.

Jump up ^ "Books -". Tempo (118): 39–40. doi:10.1017/S004029820002845X. Retrieved 25 November 2017  – via Cambridge Core.

Jump up ^ Pasler 1983, p. 608.

^ Jump up to: a b c "1962 Grammy Awards". Infoplease. 5 March 2012. Retrieved 15 March 2012.

Jump up ^ "Miniature masterpieces". Fondation Igor Stravinsky. Retrieved 2 November 2011.

Jump up ^ "Igor Stravinsky – Flood – Opera". Boosey.com. Retrieved 2 November 2011.

Jump up ^ Stravinsky 1936, pp. 91–92.

Jump up ^ The names of uncredited collaborators are given in Walsh 2001.


document_title: Wart

question_text: where are the long thin warts verrucae filiformis commonly found

root

text: Wart

text: Types[edit]

text: A range of types of wart have been identified, varying in shape and site affected, as well as the type of human papillomavirus involved.[6][7] These include:

tag: p

text:
Common wart (Verruca vulgaris), a raised wart with roughened surface, most common on hands, but can grow anywhere on the body. Sometimes known as a Palmer wart or Junior wart.
Flat wart (Verruca plana), a small, smooth flattened wart, flesh-coloured, which can occur in large numbers; most common on the face, neck, hands, wrists and knees.
Filiform or digitate wart, a thread- or finger-like wart, most common on the face, especially near the eyelids and lips.
Genital wart (venereal wart, Condyloma acuminatum, Verruca acuminata), a wart that occurs on the genitalia.
Mosaic wart, a group of tightly clustered plantar-type warts, commonly on the hands or soles of the feet.
Periungual wart, a cauliflower-like cluster of warts that occurs around the nails.
Plantar wart (verruca, Verruca plantaris), a hard sometimes painful lump, often with multiple black specks in the center; usually only found on pressure points on the soles of the feet.

tag: ul

text: Cause[edit]

text: Warts are caused by the human papilloma virus (HPV). There are about 130 known types of human papilloma viruses.[8] HPV infects the squamous epithelium, usually of the skin or genitals, but each HPV type is typically only able to infect a few specific areas on the body. Many HPV types can produce a benign growth, often called a "wart" or "papilloma", in the area they infect. Many of the more common HPV and wart types are listed below.

text:
Common warts – HPV types 2 and 4 (most common); also types 1, 3, 26, 29, and 57 and others.
Cancers and genital dysplasia – "high-risk" HPV types are associated with cancers, notably cervical cancer, and can also cause some vulvar, vaginal,[9] penile, anal[10] and some oropharyngeal cancers. "Low-risk" types are associated with warts or other conditions.[11][12]

text: High-risk: 16, 18 (cause the most cervical cancer); also 31, 33, 35, 39, 45, 52, 58, 59, and others.

text:
Plantar warts (myrmecia) – HPV type 1 (most common); also types 2, 3, 4, 27, 28, and 58 and others.
Anogenital warts (condylomata acuminata or venereal warts) – HPV types 6 and 11 (most common); also types 42, 44 and others.[13]

text: Low-risk: 6, 11 (most common); also 13, 44, 40, 43, 42, 54, 61, 72, 81, 89, and others.

text:
Flat warts – HPV types 3, 10, and 28.
Butcher's warts – HPV type 7.
Heck's disease (Focal epithelial hyperplasia) – HPV types 13 and 32.

text: Pathophysiology[edit]

text: Common warts have a characteristic appearance under the microscope. They have thickening of the stratum corneum (hyperkeratosis), thickening of the stratum spinosum (acanthosis), thickening of the stratum granulosum, rete ridge elongation, and large blood vessels at the dermoepidermal junction.

text: Prevention[edit]

text: Gardasil 6 is an HPV vaccine aimed at preventing cervical cancers and genital warts. Gardasil is designed to prevent infection with HPV types 16, 18, 6, and 11. HPV types 16 and 18 currently cause about 70% of cervical cancer cases,[11][12] and also cause some vulvar, vaginal,[9] penile and anal cancers.[10] HPV types 6 and 11 are responsible for 90% of documented cases of genital warts.[14]

text: Gardasil 9, approved in 2014 protects against HPV types 6, 11, 16, 18, 31, 33, 45, 52, and 58.[15]

text: HPV vaccines do not currently protect against the virus strains responsible for plantar warts (verrucas).

text: Disinfection[edit]

text: The virus is relatively hardy and immune to many common disinfectants. Exposure to 90% ethanol for at least 1 minute, 2% glutaraldehyde, 30% Savlon, and/or 1% sodium hypochlorite can disinfect the pathogen.[16]

text: The virus is resistant to drying and heat, but killed by 100 °C (212 °F) and ultraviolet radiation.[16]

text: Treatment[edit]

text: There are many treatments and procedures associated with wart removal.[17] A review of clinical trials of various cutaneous wart treatments concluded that topical treatments containing salicylic acid were more effective than placebo.[18] Cryotherapy appears to be as effective as salicylic acid, but there have been fewer trials.[18]

text: Medication[edit]

text:
Salicylic acid can be prescribed by a dermatologist in a higher concentration than that found in over-the-counter products. Several over-the-counter products are readily available at pharmacies and supermarkets of roughly two types: adhesive pads treated with salicylic acid, and bottled concentrated salicylic acid solution.
Imiquimod is a topical cream that helps the body's immune system fight the wart virus by encouraging interferon production. It has been approved by the U.S. Food and Drug Administration (FDA) for genital warts.[19]
Cantharidin, found naturally in the bodies of many members of the beetle family Meloidae, causes dermal blistering. It is used either by itself or compounded with podophyllin. Not FDA approved, but available through Canada or select US compounding pharmacies.
Bleomycin is not US FDA approved and can cause necrosis of digits and Raynaud syndrome.[20][21] The usual treatment is one or two injections.
Dinitrochlorobenzene (DNCB), like salicylic acid, is applied directly to the wart. Studies show this method is effective with a cure rate of 80%.[medical citation needed] But DNCB must be used much more cautiously than salicylic acid; the chemical is known to cause genetic mutations, so it must be administered by a physician. This drug induces an allergic immune response resulting in inflammation that wards off the wart-causing virus.[22]
Cidofovir is an antiviral drug which is injected into HPV lesions within the larynx (laryngeal papillomatosis) as an experimental treatment.[23]
Benzoyl peroxide (BPO) is effective in the treatment of flat warts.[medical citation needed]

text: Another product available over-the-counter that can aid in wart removal is silver nitrate in the form of a caustic pencil, which is also available at drug stores. In a placebo-controlled study of 70 patients, silver nitrate given over nine days resulted in clearance of all warts in 43% and improvement in warts in 26% one month after treatment compared to 11% and 14%, respectively, in the placebo group.[24] The instructions must be followed to minimize staining of skin and clothing. Occasionally pigmented scars may develop.

text: Several randomized, controlled trials have found that zinc sulfate, consumed orally, often reduces or eliminates warts.[25][26][27] The zinc sulfate dosage used in medical trials for treatment of warts was between 5 and 10 mg/kg/day. For elemental zinc, a lower dosage of 2.5 mg/kg/day may be appropriate as large amounts of zinc may cause a copper deficiency.[25] Other trials have found that topical zinc sulfate solution[28] or zinc oxide[29] are also effective.

text: A 2014 study indicates that lopinavir is effective against the human papilloma virus (HPV). The study used the equivalent of one tablet twice a day applied topically to the cervices of women with high-grade and low-grade precancerous conditions. After three months of treatment, 82.6% of the women who had high-grade disease had normal cervical conditions, confirmed by smears and biopsies.[30]

text: Studies of fat-soluble garlic extracts have shown clearing in greater than 90% of cases. The extract is applied twice daily and covered with an adhesive bandage. Improvements show within 2–4 weeks and total clearing in an average of 6–9 weeks.[31][32][33]

text: Procedures[edit]

text:
Keratolysis, of dead surface skin cells usually using salicylic acid, blistering agents, immune system modifiers ("immunomodulators"), or formaldehyde, often with mechanical paring of the wart with a pumice stone, blade etc.[34]
Electrodesiccation[35]
Cryosurgery or cryotherapy, which involves freezing the wart (generally with liquid nitrogen),[36] creating a blister between the wart and epidermal layer after which the wart and the surrounding dead skin fall off. An average of 3 to 4 treatments are required for warts on thin skin. Warts on calloused skin like plantar warts might take dozens or more treatments.[20]
Surgical curettage of the wart
Laser treatment – often with a pulse dye laser or carbon dioxide (CO2) laser. Pulse dye lasers (wavelength 582 nm) work by selective absorption by blood cells (specifically hemoglobin). CO2 lasers work by selective absorption by water molecules. Pulse dye lasers are less destructive and more likely to heal without scarring. CO2 laser works by vaporizing and destroying tissue and skin. Laser treatments can be painful, expensive (though covered by many insurance plans), and not extensively scarring when used appropriately. CO2 lasers will require local anaesthetic. Pulse dye laser treatment does not need conscious sedation or local anesthetic. It takes 2 to 4 treatments but can be many more for extreme cases. Typically, 10–14 days are required between treatments. Preventative measures are important.[20]
Infrared coagulator – an intense source of infrared light in a small beam like a laser. This works essentially on the same principle as laser treatment. It is less expensive. Like the laser, it can cause blistering pain and scarring.[37]
Duct tape occlusion therapy involves placing a piece of duct tape over the wart. The mechanism of action of this technique still remains unknown. Despite several clinical trials, evidence for the efficacy of duct tape therapy is inconclusive.[38] Despite the mixed evidence for efficacy, the simplicity of the method and its limited side-effects leads some researchers to be reluctant to dismiss it.[39]

text: Society and culture[edit]

text: According to English folk belief, touching toads causes warts; according to a German belief, touching a toad under a full moon cures warts.[40] The most common Northern Hemisphere toads have glands that protrude from their skin that superficially resemble warts. Warts are caused by a virus, and toads do not harbor it.[41] A variety of traditional folk remedies and rituals claim to be able to remove warts.

text: The acrid yellow sap of Greater Celandine is used as a traditional wart remedy.[42] The sap can be applied directly to the wart in a similar manner to concentrated salicylic acid solution, but in more modest quantities.

text: In The Adventures of Tom Sawyer, Mark Twain has his characters discuss a variety of such remedies. Tom Sawyer proposes "spunk-water" (or "stump-water", the water collecting in the hollow of a tree stump) as a remedy for warts on the hand. You put your hand into the water at midnight and say:

text:
Barley-corn, barley-corn, injun-meal shorts,
Spunk-water, spunk-water, swaller these warts

text: You then "walk away quick, eleven steps, with your eyes shut, and then turn around three times and walk home without speaking to anybody. Because if you speak the charm's busted." This is held to be superior to Huckleberry Finn's preferred remedy which involved throwing a dead cat into a graveyard. Another remedy involved splitting a bean, drawing blood from the wart and putting it on one of the halves, and burying that half at a crossroads at midnight. The theory of operation is that the blood on the buried bean will draw away the wart.[43] Twain is recognized as an early collector and recorder of genuine American folklore.[44]

text: Similar practices are recorded elsewhere. In Louisiana, one remedy for warts involves rubbing the wart with a potato, which is then buried; when the "buried potato dries up, the wart will be cured".[45] Another remedy similar to Twain's is reported from Northern Ireland, where water from a specific well on Rathlin Island is credited with the power to cure warts.[46]

text: Other animals[edit]

text: This section is empty. You can help by adding to it. (December 2017)

tag: table


document_title: Jimmy Bryant (singer)

question_text: who sings for tony in west side story

question_tokens: who sings for tony in west side story

text: Jimmy Bryant (singer)

text: James Howard Bryant (born June 2, 1929) is a singer, arranger and composer. He is most well known for providing the singing voice of Tony (played onscreen by Richard Beymer) in the 1961 film musical West Side Story.[1] While he received no screen credit, he states that Beymer was "a nice guy, and every time he did an interview he would mention my name."[1] He also sang for James Fox in the 1967 film musical Thoroughly Modern Millie,[1] and sang in "The Telephone Hour" number in Bye Bye Birdie. He also sang in the group that performed the theme song of the TV series Batman.[1]

text: Bryant was born in Birmingham, Alabama and grew up in Tarrant, Alabama. He attended Birmingham Southern College and the Birmingham Conservatory of Music before receiving a Scholarship in Composition at the New England Conservatory of Music in Boston, Massachusetts. He then moved to New York City in 1953 where he worked as a background singer.[1] He later moved to Los Angeles and played bass[1] in the house band at Puccini's, a Beverly Hills restaurant owned by Frank Sinatra.[1]

text: His work as an orchestrator includes the movies Not with My Wife, You Don't!, Penelope and the TV series Lost in Space.[1] He also composed music heard at Walt Disney World and Tokyo Disneyland.[1]

text: Bryant also scored the music for numerous radio and television commercials for clients such as Lone Star beer, Tecate, Chrysler Imports, and Toyota Motor Cars.

text: He was a friend of Jimmy Bryant, the famous guitar player, with whom he is often confused.


document_title: Premier League records and statistics

question_text: most goals scored by one player in premier league

text: Premier League records and statistics

text: League records[edit]

text: Titles[edit]

text:
Most titles: 13, Manchester United[1]
Most consecutive title wins: 3, Manchester United twice (1998–99, 1999–2000, 2000–01 and 2006–07, 2007–08, 2008–09)[1]
Biggest title-winning margin: 18 points, 1999–2000; Manchester United (91 points) over Arsenal (73 points)[2]
Smallest title-winning margin: 0 points and 8 goal difference – 2011–12; Manchester City (+64) over Manchester United (+56). Both finished on 89 points, but Manchester City won the title with a superior goal difference — the only time that goal difference has determined the Premier League.[3]

text: Wins[edit]

text:
Most wins in a season (38 games): 30, Chelsea (2016–17)[4]
Fewest wins in a season (38 games): 1, Derby County (2007–08)[5]
Fewest home wins in a season (19 games): 1, joint record:[5]

Sunderland (2005–06)
Derby County (2007–08)

Most home wins in a season (19 games): 18, joint record:[6]

Chelsea (2005–06)
Manchester United (2010–11)
Manchester City (2011–12)[7]

Most away wins in a season (19 games): 15, Chelsea (2004–05)[8]
Fewest away wins in a season (19/21 games): 0, joint record:[5][9][10]

Leeds United (1992–93)
Coventry City (1999–2000)
Wolverhampton Wanderers (2003–04)
Norwich City (2004–05)
Derby County (2007–08)
Hull City (2009–10)

Most consecutive wins: 18, Manchester City (between 26 August 2017 and 27 December 2017)[11]
Most consecutive games without a win: 32, Derby County (2007–08)[5]
Most consecutive games without a win from beginning of season: 16, Queens Park Rangers (between 18 August 2012 and 8 December 2012)[12]
Most consecutive home wins: 20, Manchester City (between 5 March 2011 and 21 March 2012)[13]
Most consecutive away wins: 11, joint record:[14][11]

Chelsea (between 6 April 2008 and 7 December 2008)
Manchester City (between 21 May 2017 and 27 December 2017)

text: Losses[edit]

text:
Fewest losses in a season (38 games): 0, Arsenal (2003–04)[15]
Longest unbeaten run: 49 games, Arsenal (7 May 2003 – 24 October 2004)[16]
Most losses in total: 336, Everton[17]
Fewest home losses in a season (19 games): 0, joint record:

Manchester United (1995–96, 1999–2000, 2010–11)[18][19][20]
Arsenal (1998–99, 2003–04, 2007–08) [21][22][23]
Chelsea (2004–05, 2005–06, 2006–07, 2007–08, 2014–15)[23][24][25][26][27]
Liverpool (2008–09)[28]
Manchester City (2011–12)[7]
Tottenham Hotspur (2016–17)

Most consecutive losses over more than one season (38 games): 20, Sunderland (2002–03, 2005–06)[29]
Fewest away losses in a season (19 games): 0, Arsenal (2001–02, 2003–04)[22][30]
Most consecutive home games undefeated: 86, Chelsea (20 March 2004 – 26 October 2008)[31]
Most consecutive away games undefeated: 27, Arsenal (5 April 2003 – 25 September 2004)[32]

text: Draws[edit]

text:
Most draws in a season (42 games): 18 – joint record:

Manchester City (1993–94)[33]
Sheffield United (1993–94)[33]
Southampton (1994–95)[33]

Most draws in a season (38 games): 17 – joint record:

Newcastle United (2003–04)[33]
Aston Villa (2006–07 & 2011–12)[33]
Sunderland (2014–15)[33]

Most home draws in a season: 10 – joint record:

Sheffield Wednesday (1996–97)[33]
Leicester City (1997–98 & 2003–04)[33]
Manchester United (2016–17)[33]

Most away draws in a season: 10, Newcastle United (2003–04)[33]
Fewest draws in a season: 3, Chelsea (1997–98 & 2016–17)[33]
Fewest home draws in a season: 0 – joint record:

Manchester City (2008–09)[33]
Manchester United (2012–13)[33]
Chelsea (2016–17)[33]

Fewest away draws in a season: 1 – joint record:

Bolton Wanderers (1995–96)[33]
Queens Park Rangers (1995–96 & 2014–15)[33]
Barnsley (1997–98)[33]
Chelsea (1997–98)[33]
Bradford City (1999–2000)[33]
Everton (2000–01)[33]
Ipswich Town (2000–01)[33]
Portsmouth (2005–06 & 2007–08)[33]
Burnley (2009–10)[33]
Liverpool (2011–12)[33]
Newcastle United (2013–14)[33]
Queens Park Rangers (2014–15)[33]

Most consecutive draws: 7 – joint record:

Norwich City (1993–94)[33]
Southampton (1994–95)[33]
Manchester City (2009–10)[33]

Most draws in total: 277, Everton[17]

text: Attendances[edit]

text:
Highest attendance, single game: 80,827, Tottenham Hotspur v. Liverpool (at Wembley Stadium, 22 October 2017)[34]
Lowest attendance, single game: 3,039, Wimbledon v. Everton (at Selhurst Park, 26 January 1993)[35][36]

text: Goals[edit]

text:
Most goals scored in a season: 103, Chelsea (2009–10)[37]
Fewest goals scored in a season: 20, Derby County (2007–08)[38]
Most goals conceded in a season (42 games): 100, Swindon Town (1993–94)[39]
Most goals conceded in a season (38 games): 89, Derby County (2007–08)[40]
Fewest goals conceded in a season: 15, Chelsea (2004–05)[41]
Best goal difference in a season: 71, Chelsea (2009–10)[41]
Most goals scored in a season by a relegated team: 55, Blackpool (2010–11)[42]
Most goals scored at home in a season: 68, Chelsea (2009–10)[41]
Fewest goals scored at home in a season: 10, Manchester City (2006–07)[43]
Most goals conceded at home in a season (21 games): 45, Swindon Town (1993–94)[44]
Most goals conceded at home in a season (19 games): 43

Derby County (2007–08)[44]
Wolverhampton Wanderers (2011–12)[44]

Fewest goals conceded at home in a season (21 games or 19 games): 4, Manchester United (1994–95)[44]
Most goals scored away in a season: 48, Liverpool (2013–14)[44]
Fewest goals scored away in a season: 8

Middlesbrough (1995–96)[44]
Southampton (1998–99)[44]
Sheffield United (2006–07)[44]
Derby County (2007–08)[44]

Most goals conceded away in a season (21 games): 59, Ipswich Town (1994–95)[44]
Most goals conceded away in a season (19 games): 55, Wigan Athletic (2009–10)[44]
Fewest goals conceded away in a season: 9, Chelsea (2004–05)[44]
Fewest failures to score in a match in a season: 0 (scored in every game), Arsenal (2001–02)[45]
Most goals scored in total: 1,856, Manchester United[17]
Most goals conceded in total: 1,231, Tottenham Hotspur[17]
Largest goal deficit overcome to win: 3

Leeds United 4–3 Derby County (8 November 1997)[46]
West Ham United 3–4 Wimbledon (9 September 1998)[47]
Tottenham Hotspur 3–5 Manchester United (29 September 2001)[48]
Wolverhampton Wanderers 4–3 Leicester City (25 October 2003)[49]

Largest goal deficit overcome to draw: 4, Newcastle United 4–4 Arsenal (5 February 2011)[50]

text: Points[edit]

text:
Most points in a season: 95, Chelsea (2004–05)[51]
Fewest points in a season: 11, Derby County (2007–08)[52]
Most points in a season without winning the league: 89, Manchester United (2011–12)[53]
Fewest points in a season while winning the league: 75, Manchester United (1996–97)[54]
Most points in a season while being relegated:

42 games: 49, Crystal Palace (1992–93)[55]
38 games: 42, West Ham United (2002–03)[55]

Fewest points in a season while surviving relegation: 34, West Bromwich Albion (2004–05)[56]

text: Player records[edit]

text: Appearances[edit]

text:
Most Premier League appearances: 647, Gareth Barry (2 May 1998 to 2 December 2017)[57]
Oldest player: John Burridge, 43 years and 162 days (for Manchester City v. Queens Park Rangers, 14 May 1995)[58]
Youngest player: Matthew Briggs, 16 years and 65 days (for Fulham v. Middlesbrough, 13 May 2007)[59]
Most consecutive Premier League appearances: 310, Brad Friedel (14 August 2004 until 7 October 2012)[60]
Most seasons appeared in: 22, Ryan Giggs (every season from 1992–93 to 2013–14)[61]

text: Goals[edit]

text:
First Premier League goal: Brian Deane (for Sheffield United v. Manchester United, 15 August 1992)[62]
Most Premier League goals: Alan Shearer (260)[63]

text:
Most goals scored away from home: Wayne Rooney (94)[citation needed]
Most Premier League goals at one club: Wayne Rooney (183, for Manchester United)[64]
Oldest goalscorer: Teddy Sheringham, 40 years and 268 days (for West Ham United v. Portsmouth, 26 December 2006)[65]
Youngest goalscorer: James Vaughan, 16 years and 271 days (for Everton v. Crystal Palace, 10 April 2005)[66]

text:
Most consecutive Premier League matches scored in: 11, Jamie Vardy (for Leicester City, 29 August to 28 November 2015)[67]
Most seasons scored in: 21, Ryan Giggs (every season from 1992–93 to 2012–13)[68]

text:
Rank
Name
Goals
Games
Goals per game
Playing position
First goal
Last goal

1
 Alan Shearer
260
441
0.59
Forward
1992–93
2005–06

2
 Wayne Rooney
208
480
0.43
Forward
2002–03
2017–18

3
 Andy Cole
187
414
0.45
Forward
1993–94
2006–07

4
 Frank Lampard
177
609
0.29
Midfield
1997–98
2014–15

5
 Thierry Henry
175
258
0.68
Forward
1999–2000
2011–12

6
 Robbie Fowler
163
379
0.43
Forward
1993–94
2006–07

7
 Jermain Defoe
161
483
0.33
Forward
2001–02
2017–18

8
 Michael Owen
150
326
0.46
Forward
1996–97
2012–13

9
 Les Ferdinand
149
351
0.42
Forward
1992–93
2004–05

10
 Teddy Sheringham
146
418
0.35
Forward
1992–93
2006–07

text:
Most goals in a season (42 games): 34, joint record:[70]

Andrew Cole (Newcastle United, 1993–94)
Alan Shearer (Blackburn Rovers, 1994–95)

text:
Most goals in a season (38 games): 31, joint record:[71]

Alan Shearer (Blackburn Rovers, 1995–96)
Cristiano Ronaldo (Manchester United, 2007–08)
Luis Suárez (Liverpool, 2013–14)

Most Premier League goals in a calendar year: 39, Harry Kane (Tottenham Hotspur, 2017)[72]
Number of teams scored against in a season: 17, joint record:

20-team league:[73]

Ian Wright (Arsenal, 1996–97)
Robin van Persie (Arsenal, 2011–12)

22-team league:

Andrew Cole (Newcastle United, 1993–94)
Alan Shearer (Blackburn Rovers, 1994–95)

Most goals in a debut season: 30, Kevin Phillips (Sunderland, 1999–2000)[74]
Most Premier League hat-tricks in a season: 5, Alan Shearer (38 games) (Blackburn Rovers, 1995–96)[75]
Most Premier League hat-tricks: 11, Alan Shearer[76]
Most goals in a game: 5, joint record:[77]

Andrew Cole (for Manchester United v. Ipswich Town, 4 March 1995) W 9–0
Alan Shearer (for Newcastle United v. Sheffield Wednesday, 19 September 1999) W 8–0
Jermain Defoe (for Tottenham Hotspur v. Wigan Athletic, 22 November 2009) W 9–1
Dimitar Berbatov (for Manchester United v. Blackburn Rovers, 27 November 2010) W 7–1
Sergio Agüero (for Manchester City v. Newcastle United, 3 October 2015) W 6–1

text:
Most goals in one half: 5, Jermain Defoe (for Tottenham Hotspur v. Wigan Athletic, 22 November 2009) W 9–1[78]
Fastest goal: 10 seconds, Ledley King (for Tottenham Hotspur v. Bradford City, 9 December 2000)[79]
Most goals scored by a substitute in a game: 4, Ole Gunnar Solskjær (for Manchester United v. Nottingham Forest, 6 February 1999)[80]
Most consecutive away league matches scored in: 9, Robin van Persie (for Arsenal, 1 January 2011 to 22 May 2011)[81]
Most consecutive seasons to score at least 30 goals: 3 (1993–1996), Alan Shearer (all for Blackburn Rovers)[82]
Most consecutive seasons to score at least 25 goals: 4 (1993–1997), Alan Shearer (1993–1996 for Blackburn Rovers, 1996–1997 for Newcastle United)[83]
Most consecutive seasons to score at least 20 goals: 5 (2001–2006), Thierry Henry (all for Arsenal)[83]
Most consecutive seasons to score at least 10 goals: 11 (2004–2015), Wayne Rooney (all for Manchester United)[84]
Most consecutive seasons to score at least 1 goal: 21 (1992–2013), Ryan Giggs (all for Manchester United)[68]
Fastest Premier League hat-trick: Sadio Mané, 2 minutes 56 seconds (for Southampton v. Aston Villa, 16 May 2015)[85]
Highest number of different clubs to score for: 7:

Craig Bellamy (for Coventry City, Newcastle United, Blackburn Rovers, Liverpool, West Ham United, Manchester City, Cardiff City)[86]

Most own goals: 10, Richard Dunne[87]
Most own goals in a season: 4, Martin Škrtel (2013–14)[88]
Most Hat-tricks against a single club: 3, Luis Suárez (for Liverpool v. Norwich City)[89]
Most goals in a calendar month: 10 (December 2013), Luis Suárez (for Liverpool)[90]

text: Assists[edit]

text:
Rank
Player
Assists

Most assists (career)

1
 Ryan Giggs
162

2
 Cesc Fàbregas
111

3
 Wayne Rooney
103

4
 Frank Lampard
102

5
 Dennis Bergkamp
94

6
 Steven Gerrard
92

7
 David Beckham
80

8
 James Milner
77

9
 Teddy Sheringham
76

10
 Thierry Henry
74

text:
Most Premier League assists in a season: 20, Thierry Henry (Arsenal, 2002–03)[92]
Most consecutive Premier League matches assisted in: 7, Mesut Özil (for Arsenal, 26 September to 21 November 2015)[93]
Most assists in a single Premier League match: 4, joint record:[94]

Dennis Bergkamp (for Arsenal v. Leicester City, 20 February 1999)
José Antonio Reyes (for Arsenal v. Middlesbrough, 14 January 2006)
Cesc Fàbregas (for Arsenal v. Blackburn Rovers, 4 October 2009)
Emmanuel Adebayor (for Tottenham Hotspur v. Newcastle United, 11 February 2012)
Santi Cazorla (for Arsenal v. Wigan Athletic, 14 May 2013)
Dušan Tadić (for Southampton v. Sunderland, 18 October 2014)[95]

text: Goalkeepers[edit]

text:
Rank
Player
Clean
sheets

Most clean sheets (career)

1
 Petr Čech
199

2
 David James
169

3
 Mark Schwarzer
151

4
 David Seaman
140

5
 Nigel Martyn
137

6
 Pepe Reina
134

7
 Edwin van der Sar
132

 Tim Howard

 Brad Friedel

10
 Peter Schmeichel
128

text:
Most clean sheets in one season: 24, Petr Čech (for Chelsea, 2004–05)[96]
Longest consecutive run without conceding a goal: 14 games (1,311 minutes), Edwin van der Sar (for Manchester United, 2008–09)[97]
Goalscoring goalkeepers (excluding own goals):

Peter Schmeichel (Everton 3–2 Aston Villa, 20 October 2001)[98]
Brad Friedel (Charlton Athletic 3–2 Blackburn Rovers, 21 February 2004)[99]
Paul Robinson (Tottenham Hotspur 3–1 Watford, 17 March 2007)[100]
Tim Howard (Everton 1–2 Bolton Wanderers, 4 January 2012)[101]
Asmir Begović (Stoke City 1–1 Southampton, 2 November 2013)[102]

text: Disciplinary[edit]

text:
Most red cards: 8, joint record:[57]

Duncan Ferguson
Patrick Vieira
Richard Dunne

Most yellow cards for a player: 103, Gareth Barry[69]
Most yellow cards for a single team in one game: 9 (Tottenham Hotspur v. Chelsea, 2 May 2016)[103]
Fouling record: 782, Kevin Davies (since 2000–01, the first season for which reliable records are available)[104]
Longest ban: 12 matches, Joey Barton. After being dismissed for violent conduct, Barton was found guilty of two further separate counts of violent conduct after his dismissal vs Manchester City, 23 May 2012[105]

text: Youngest players to score[edit]

text: This is a list of the top 10 youngest players to score a goal in the Premier League.[106]

text:
Player
Date
Team
Age
Opposition

1
James Vaughan
10-Apr-2005
Everton
16 years 270 days
Crystal Palace

2
James Milner
26-Dec-2002
Leeds United
16 years 346 days
Sunderland

3
Wayne Rooney
19-Oct-2002
Everton
16 years 351 days
Arsenal

4
Cesc Fabregas
25-Aug-2004
Arsenal
17 years 114 days
Blackburn Rovers

5
Michael Owen
06-May-1997
Liverpool
17 years 144 days
Wimbledon

6
Andy Turner
05-Sep-1992
Tottenham
17 years 166 days
Everton

7
Federico Macheda
05-Apr-2009
Manchester United
17 years 226 days
Aston Villa

8
Raheem Sterling
20-Oct-2012
Liverpool
17 years 317 days
Reading

9
Mikael Forssell
20-Feb-1999
Chelsea
17 years 342 days
Nottingham Forest

10
Danny Cadamarteri
20-Sep-1997
Everton
17 years 344 days
Barnsley

text: Match records[edit]

text: Scorelines[edit]

text:
Biggest home win: 9–0, Manchester United v. Ipswich Town (4 March 1995)[107]
Biggest away win: 1–8, Nottingham Forest v. Manchester United (6 February 1999)[107]
Biggest aggregate win: 12–1, joint record:

Blackburn Rovers 7–0 Nottingham Forest (18 November 1995) & Nottingham Forest 1–5 Blackburn Rovers (13 April 1996)
Tottenham Hotspur 9–1 Wigan Athletic (22 November 2009) & Wigan Athletic 0–3 Tottenham Hotspur (21 February 2010)

Biggest loss by reigning champions: 1–6, joint record:[108]

Manchester United 1–6 Manchester City (23 October 2011), after Manchester United had won the 2010–11 competition
Leicester City 1–6 Tottenham Hotspur (18 May 2017), after Leicester City had won the 2015–16 competition

Highest scoring: 7–4, Portsmouth v. Reading (29 September 2007)[109]
Highest scoring draw: 5–5, West Bromwich Albion v. Manchester United (19 May 2013)[110]
Highest scoring in the first half: 7 goals, joint record:

Blackburn Rovers 3–4 Leeds United (14 September 1997 — final score; 3–4)[111]
Bradford City 4–3 Derby County (21 April 2000 — final score; 4–4)[112]
Reading 3–4 Manchester United (1 December 2012 — final score; 3–4)[113]

Most individual goal scorers in one game: 9, joint record:

Tottenham Hotspur 4–5 Arsenal (13 November 2004)[114]
Portsmouth 7–4 Reading (29 September 2007)[115]

Most individual goal scorers in one game for the same team: 7, joint record:

Chelsea 8–0 Aston Villa (23 December 2012)[116]
Manchester City 7–0 Norwich City (2 November 2013)[117]
Southampton 8–0 Sunderland (18 October 2014)[118]

text: All-time Premier League table[edit]

text: The all-time Premier League table is a cumulative record of all match results, points and goals of every team that has played in the Premier League since its inception in 1992. The table that follows is accurate as of the start of the 2017–18 season. Teams in bold are part of the 2017–18 Premier League. Numbers in bold are the record (highest either positive or negative) numbers in each column.[119]

text:
Pos.
Club
Seasons
Pld
Win
Draw
Loss
GF
GA
GD
Pts
1st
2nd
3rd
4th
Relegated
Avg
Pts
Best
Pos.

1
Manchester United
25
962
604
209
149
1856
847
1009
2021
13
5
3
1

80.84
1

2
Arsenal
25
962
525
247
190
1698
911
787
1822
3
6
5
7

72.88
1

3
Chelsea
25
962
516
241
205
1645
925
720
1789
5
4
4
2

71.56
1

4
Liverpool
25
962
478
243
241
1601
986
615
1677

3
5
6

67.08
2

5
Tottenham Hotspur
25
962
400
247
315
1406
1231
175
1447

1
1
2

57.88
2

6
Everton
25
962
349
277
336
1259
1207
52
1324

1

52.96
4

7
Aston Villa
24
924
316
275
333
1117
1186
−69
1223

1

1
1
50.96
2

8
Newcastle United
22
844
322
217
305
1168
1140
28
1183

2
2
1
2
53.77
2

9
Manchester City
20
772
327
190
255
1173
925
248
1171
2
2
2
1
2
58.55
1

10
West Ham United
21
806
265
209
332
964
1146
−182
1004

2
47.81
5

11
Blackburn Rovers
18
696
262
184
250
927
907
20
970
1
1

1
2
53.89
1

12
Southampton
18
696
222
187
287
855
966
−111
853

1
47.39
6

13
Leeds United
12
468
189
125
154
641
573
68
692

1
2
1
57.67
3

14
Middlesbrough
15
574
165
169
240
648
794
−146
661[120]

4
44.01
7

15
Sunderland
16
608
153
159
296
612
904
−292
618

4
38.63
7

16
Fulham
13
494
150
136
208
570
697
−127
586

1
45.08
7

17
Bolton Wanderers
13
494
149
128
217
575
745
−170
575

3
44.23
6

18
Leicester City
11
422
130
118
174
516
610
−94
508
1

3
46.18
1

19
West Bromwich Albion
11
418
106
115
197
444
640
−196
433

3
39.36
8

20
Stoke City
9
342
109
97
136
363
457
−94
424

47.11
9

21
Coventry City
9
354
99
112
143
387
490
−103
409

1
45.40
11

22
Sheffield Wednesday
8
316
101
89
126
409
453
−44
392

1
49.00
7

23
Wimbledon
8
316
99
94
123
384
472
−88
391

1
48.88
6

24
Charlton Athletic
8
304
93
82
129
342
442
−100
361

2
45.13
7

25
Norwich City
8
316
89
92
135
365
510
−145
359

1

4
44.88
3

26
Crystal Palace
8
312
86
78
148
329
456
−127
336

4
42.00
10

27
Wigan Athletic
8
304
85
76
143
316
482
−166
331

1
41.38
10

28
Queens Park Rangers
7
278
81
65
132
339
431
−92
308

3
44.00
5

29
Birmingham City
7
266
73
82
111
273
360
−87
301

3
43.00
9

30
Portsmouth
7
266
79
65
122
292
380
−88
293[121]

1
41.90
8

31
Swansea City
6
228
74
57
97
278
327
−49
279

46.50
8

32
Derby County
7
266
68
70
128
271
420
−149
274

2
39.10
8

33
Nottingham Forest
5
198
60
59
79
229
287
−58
239

1

3
47.80
3

34
Ipswich Town
5
202
57
53
92
219
312
−93
224

2
44.80
5

35
Hull City
5
190
41
48
101
181
323
−142
171

3
34.20
16

36
Watford
4
152
34
35
83
144
254
−110
137

2
34.25
13

37
Wolverhampton Wanderers
4
152
32
40
80
156
281
−125
136

2
34.00
15

38
Sheffield United
3
122
32
36
54
128
168
−40
132

2
44.00
14

39
Reading
3
114
32
23
59
136
186
−50
119

2
39.67
8

40
Burnley
3
114
26
25
63
109
190
−81
103

2
34.33
16

41
Oldham Athletic
2
84
22
23
39
105
142
−37
89

1
44.50
19

42
Bournemouth
2
76
23
19
34
100
134
−34
88

44.00
9

43
Bradford City
2
76
14
20
42
68
138
−70
62

1
31.00
17

44
Blackpool
1
38
10
9
19
55
78
−23
39

1
39.00
19

45
Barnsley
1
38
10
5
23
37
82
−45
35

1
35.00
19

46
Cardiff City
1
38
7
9
22
32
74
−42
30

1
30.00
20

47
Swindon Town
1
42
5
15
22
47
100
−53
30

1
30.00
22

48
Brighton & Hove Albion
0
0
0
0
0
0
0
0
0

00.00

49
Huddersfield Town
0
0
0
0
0
0
0
0
0

00.00

text: League or status at 2017–18:

text:
2017–18 Premier League

2017–18 EFL Championship

2017–18 Football League One

2017–18 Football League Two

Defunct: by a 2007 agreement, neither Milton Keynes Dons nor AFC Wimbledon regards itself as custodian of Wimbledon F.C.'s statistics.[122][123]

text: Managers[edit]

text:
Most Premier League winner's medals: 13, Sir Alex Ferguson (Manchester United) – 1993, 1994, 1996, 1997, 1999, 2000, 2001, 2003, 2007, 2008, 2009, 2011, 2013
Winner of Premier League Manager of the Month Award: 27, Sir Alex Ferguson
Most consecutive Premier League Manager of the Month Awards: 4, Pep Guardiola[124]
Most promotions to the Premier League: 4, Steve Bruce (Birmingham City in 2001–02 and 2006–07 and Hull City in 2012–13 and 2015–16)
Most relegations from the Premier League: 3, Dave Bassett (Sheffield United in 1993–94, Nottingham Forest in 1996–97, and Leicester City in 2001–02)[125]
Longest-serving manager: Arsène Wenger (Arsenal), 1 October 1996 to present[126]
Shortest-serving manager (excluding caretakers): Les Reed, 41 days (Charlton Athletic, 14 November 2006 to 24 December 2006)[127]