Zitate von Igor Strawinsky
Geburtstag: 18. Juni 1882
Todesdatum: 6. April 1971
Andere Namen: Igor' Fëdorovič Stravinskij, Ígor Fiódorovich Stravinskij
Igor Strawinsky war ein russisch-französisch-US-amerikanischer Komponist, Dirigent und einer der bedeutendsten Vertreter der Neuen Musik.
Sein vollständiger Name lautet in moderner Transkription Igor Fjodorowitsch Strawinski . Im Englischen wird der Nachname Stravinsky geschrieben, im Französischen Stravinski.
Zitate Igor Strawinsky
„The trouble with music appreciation in general is that people are taught to have too much respect for music; they should be taught to love it instead.“
Igor Stravinsky. "Subject: Music", New York Times Magazine, 9/27/64.
„I was…attacked for being a pasticheur, chided for composing “simple” music, blamed for deserting “modernism,” accused of renouncing my “true Russian heritage.” People who had never heard of, or cared about, the originals cried “sacrilege”: “The classics are ours. Leave the classics alone.” To them all my answer was and is the same: You “respect,” but I love.“
Expositions and Developments (1959), pp. 113-114
„The phenomenon of music is given to us with the sole purpose of establishing an order in things, including, and particularly, the co-ordination between man [sic] and time.“
Quoted in DeLone et. al. (Eds.) (1975). Aspects of Twentieth-Century Music. Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0130493465, Ch. 3. from Igor Stravinsky' Autobiography (1962). New York: W.W. Norton & Co., Inc., p. 54.
1970s and later
„What I cannot follow are the manic-depressive fluctuations from total control to no control, from the serialization of all elements to chance.“
Quelle: 1970s and later, Themes and Conclusions (1982), p. 33.
Igor Stravinsky. The Observer, Oct 8, 1961.
„It is the transcendent (or 'abstract' or 'self-contained') nature of music that the new so called concretism--Pop Art, eighteen-hour slices-of-reality films, musique concrete--opposes. But instead of bringing art and reality closer together, the new movement merely thins out the distinction.“
Quelle: 1970s and later, Themes and Conclusions (1982), p. 188.
„The over-publicized bit about expression (or non-expression) was simply a way of saying that music is supra-personal and super-real and as such beyond verbal meanings and verbal descriptions. It was aimed against the notion that a piece of music is in reality a transcendental idea "expressed in terms of" music, with the reductio ad absurdum implication that exact sets of correlatives must exist between a composer's feelings and his notation. It was offhand and annoyingly incomplete, but even the stupider critics could have seen that it did not deny musical expressivity, but only the validity of a type of verbal statement about musical expressivity. I stand by the remark, incidentally, though today I would put it the other way around: music expresses itself.“
Igor Stravinsky and Robert Craft (1962). Expositions and Developments.
„For I consider that music is, by its very nature, essentially powerless to express anything at all, whether a feeling, an attitude of mind, a psychological mood, a phenomenon of nature, etc. Expression has never been an inherent property of music. That is by no means the purpose of its existence. If, as is nearly always the case, music appears to express something, this is only an illusion and not a reality. It is simply an additional attribute which, by tacit and inveterate agreement, we have lent it, thrust upon it, as a label, a convention – in short, an aspect which, unconsciously or by force of habit, we have come to confuse with its essential being.“
Igor Stravinsky (1936). An Autobiography, p. 53-54.
Quoted by Géza Szamosi, The Twin Dimensions: Inventing Time and Space (New York, 1986), p. 232.
1970s and later
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„One has a nose. The nose scents and it chooses. An artist is simply a kind of pig snouting truffles.“
1962, quoted in Andriessen and Schoenberger, The Apollonian Clockwork (1989). Oxford: Oxford University Press.
„Much of the music is a Merzbild, put together from whatever came to hand. I mean, for example…the Alberti-bass horn solo accompanying the Messenger. I also mean the fusion of such widely divergent types of music as the Folies Bergeres tune at No. 40 ('The girls enter, kicking') and the Wagnerian 7th-chords at Nos. 58 and 74.“
Quelle: Themes and Conclusions (1982), p. 27: Dialogues.