SHAWORDS

It was because the melody and harmony were so fresh that we found Russ — Igor Stravinsky

"It was because the melody and harmony were so fresh that we found Russian music irresistible. This freshness was no matter of choice. Musicians of the West had established the foundation of their whole tonal concept, both melodic and harmonic, upon the relation of a tone to its dominant. Striving for an expressive system that should be rational, little by little they reduced all steps and figures to the affirmation of this relationship. For this system Rameau evolved his theory. Admirable as it was, it represented only a certain condensation of all the resources of the art. It remained for music in our time to open up new possibilities. The Russians, however, had no part in that tradition. Although their music recognized the essential character of that relationship, it did not make the same use of it. At the same time that Stravinsky started to compose, Russian music was a hundred years old. But it had begun to show a certain weakening of force. This was one reason impelling Stravinsky to leave his fatherland. He felt more free to fulfill his destiny in the climate of Debussy and Ravel than in a St Petersburg haunted by Wagner. But this much is clear. Though he chose to live, from then on, among foreign musicians, it was to create in a fashion unlike theirs."
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Igor Stravinsky
Igor Stravinsky
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Igor Fyodorovich Stravinsky was a Russian composer and conductor with French and American citizenship. He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music.

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"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 composers 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."
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