Stravinsky’s persona

igor

Stravinsky has been widely characterized as enigmatic, a composer whose stylistic transformations were impossible to anticipate. He cultivated this image, not in a disingenuous way, but because his eccentricity was central to his self-definition.

More than any composer of 20th-century art music, Stravinsky was able to make the leap from a rarefied intellectual world to the status of a pop icon, widely respected by people who largely did not understand his music. He needed to be public, accepted, and popular, and a surprisingly large proportion of his archival documents reflects his efforts toward these goals.

Television producers in Europe and North America found in Stravinsky the ideal nonconformist film icon: droll, quirky, conversational, contentious, and pedestaled as the epitome of the rebellious hero. He was drawn to them as well, as a natural performer who needed and commanded the spotlight.

This according to “Truths and illusions: Rethinking what we know” and “Film documentaries: The composer on and off camera” by Charles M. Joseph, two essays included in Stravinsky inside out (New Haven: Yale University Press, 2001, pp. 1–34 and 162–195, respectively).

Below, the composer works the camera with some of his favorite things to say about Le sacre du printemps.

Related articles:

3 Comments

Filed under 20th- and 21st-century music, Curiosities

3 responses to “Stravinsky’s persona

  1. Pingback: allovermyplace

  2. Pingback: The riot at the Rite | Bibliolore

  3. Pingback: Stravinsky and film | Bibliolore

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s