A Quote by Lukas Foss
The fact that Stravinsky used the classics as a major influence is obvious. What is interesting is how he used them, how he turned Bach into Stravinsky.
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Bernard Herrmann used to write all his scores by himself. So did Bach, Beethoven and Stravinsky. I don't understand why this happens in the movie industry.
Bernard Herrmann used to write all his scores by himself. So did Bach, Beethoven and Stravinsky. I dont understand why this happens in the movie industry.
Stravinsky the composer I worship. Stravinsky the thinker I despise.
You may not be aware of this but Leonard Bernstein won another award, for explaining the music of Igor Stravinsky... to Igor Stravinsky!
The composer Stravinsky had written a new piece with a difficult violin passage. After it had been in rehearsal for several weeks, the solo violinist came to Stravinsky and said he was sorry, he had tried his best, the passage was too difficult, no violinist could play it. Stravinsky said, 'I understand that. What I am after is the sound of someone trying to play it.'
Tori Amos had a major influence on how I craft words in a song. Until I heard 'Little Earthquakes' all my lyrics used really obvious analogies like rain for tears.
Stravinsky used Mother Goose. He was influenced by Mother Goose, indirectly, but very beautifully
Stravinsky used Mother Goose. He was influenced by Mother Goose, indirectly, but very beautifully.
Most of us are searching-consciously or unconsciously- for a degree of internal balance and harmony between ourselves and the outside world, and if we happen to become aware-like Stravinsky- of a volcano within us, we will compensate by urging restraint. By that same token, someone who bore a glacier within them might urge passionate abandon. The danger is, as Bergman points out, that a glacial personality in need of passionate abandon may read Stravinsky and apply restraint instead.
People are interested in certain ideas, in certain periods, and then that moves, and okay, now people are more interested in studying this, and there is no perfect balance, and how would you know what the perfect balance is? I mean, what does it mean to have too many Beethoven chairs and too few Stravinsky chairs? I mean, that's kind of a value judgment that isn't really based on humility. We don't know what the optimum number is, so let people figure this out on their own. People are more interested in Beethoven than Stravinsky? Great! Why would that bother me?
I'm too busy playing. When I'm playing I don't pay attention to who's listening. When I was listening I listened to symphony orchestras, Beethoven, Bach, Brahms, Stravinsky. You don't listen to one instrument; you listen to music.
It's always interesting - how do you actually convey thought through song? We're used to the convention on stage. In film, we used to be used to it, and now sometimes it works and sometimes it doesn't. You need to be fresh and really look at the material.
No, I don't know how to get young people to start listening to jazz again. But I do know this: Any symphony orchestra that thinks it can appeal to under-30 listeners by suggesting that they 'should' like Schubert and Stravinsky has already lost the battle.
I'm not Stravinsky, I never will be.
It's something he used to say when he was happy. It could be a very, very simple day. We might be sitting out on the front lawn. Dad loved classical music and we might be listening to some Stravinsky or something and having some tea and eggs. And he'd say, 'Oh, good stuff, isn't it?'
I'll get an inspiration and start painting; then I'll forget everything, everything except how things used to be and how to paint it so people will know how we used to live.
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