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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
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Igor Stravinsky
Age: 88 †
Born: 1882
Born: June 17
Died: 1971
Died: April 6
Composer
Conductor
Musician
Pianist
omniorca
Igor Fyodorovich Stravinsky
Stravinsky
Igor Strawinski
Igor Strawinsky
Igor Stravinskii
Igor Feodorovich Stravinsky
Jgor Strawinsky
Igor Strawinskij
Igor Stravinski
Igor Fedorovich Stravinsky
I. Strawinsky
Love
Humorous
People
General
Instead
Respect
Taught
Oboes
Trouble
Composing
Music
Composer
Much
Appreciation
More quotes by Igor Stravinsky
A cultural snob is someone who claims to be familiar with the incomprehensible.
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I wonder if memory is true, and I know that it cannot be, but that one lives by memory nevertheless and not by truth.
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Music is, by its very nature, essentially powerless to express anything at all. Music expresses itself.
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The further one separates himself from the precepts of the Christian Church, the further one distances himself from the truth. Only God can create. I make music from music.
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Old age is a time of humiliations, the most disagreeable of which, for me, is that I cannot work long at sustained high pressure with no leaks in concentration.
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Doomed to total failure in a deaf world of ignorance and indifference, he inexorably kept on cutting out his diamonds, his dazzling diamonds, of whose mines he had a perfect knowledge.
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A plague on eminence! I hardly dare cross the street any more without a convoy, and I am stared at wherever I go like an idiot member of a royal family or an animal in a zoo and zoo animals have been known to die from stares.
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Music's exclusive function is to structure the flow of time and keep order in it.
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One has a nose. The nose scents and it chooses. An artist is simply a kind of pig snouting truffles.
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Nothing is likely about masterpieces, least of all whether there will be any.
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Art postulates communion, and the artist has an imperative need to make others share the joy which he experiences himself.
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The principle of the endless melody is the perpetual becoming of a music that never had any reason for starting, any more than it has any reason for ending.
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I have learned throughout my life as a composer chiefly through my mistakes and pursuits of false assumptions, not by my exposure to founts of wisdom and knowledge.
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An audience is an abstraction it has no taste. It must depend on the only person who has (pardon, should have), the conductor.
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My freedom will be so much the greater and more meaningful the more narrowly I limit my field of action and the more I surround myself with obstacles. Whatever diminishes constraint diminishes strength. The more constraints one imposes, the more one frees one's self of the chains that shackle the spirit.
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What I cannot follow are the manic-depressive fluctuations from total control to no control, from the serialization of all elements to chance.
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What gives the artist real prestige is his imitators.
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I live neither in the past nor in the future. I am in the present. I cannot know what tomorrow will bring forth. I can know only what the truth is for me today. That is what I am called upon to serve, and I serve it in all lucidity.
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I know that the twelve notes in each octave and the variety of rhythm offer me opportunities that all of human genius will never exhaust.
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We cannot describe sound, but we cannot forget it either.
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