Stravinsky on composition

“For me, as a creative musician, composition is a daily function that I am compelled to discharge. I compose because I am made for that and cannot do otherwise … I am far from saying that there is no such thing as inspiration; quite the opposite. It is found as a driving force in every kind of musical activity … But that force is only brought into action by effort, and that effort is work. Just as appetite comes by eating, so work bring inspiration, if inspiration is not discernible at the beginning. But it is not simply inspiration that counts. It is the result of inspiration – that is, the composition.”

– Igor Stravinsky.

Cited in: Nettl, Paul (1969) The Book of Musical Documents. New York: Greenwood Press, pp.324-5.


Featured Content

Joe Hisaishi on the score of The Boy and the Heron
“I did not want to describe emotions or scenes through music. I wanted to be at a certain distance from the story and the characters, and I wanted to be in between the actual story and what we see on the screen, and the viewers, in terms of writing the music.” — Joe Hisaishi T. […]
Beauty captivates the flesh
Beauty captivates the flesh, seeking permission to pass directly to the soul. — Simone Weil S. Weil, G Panichas (ed.) The Simone Weil Reader, New York, McKay, 1977, p. 378.
Through a Looking Glass
Title: Through a Looking Glass Composer: Greg Smith Instrumentation: Piano Duet Level: Piano I – level 1 (five finger position) Product medium: PDF score and MP3 accompaniment track (Audio sample of accompaniment track only
George and Ira Gershwin preview Porgy and Bess
The stage director of the first Porgy and Bess production recalls hearing the score in Gerswhin's New York apartment: They both blissfully closed their eyes before they continued with the lovely "Summertime" song.  George played with the most beatific smile on his face.  He seemed to float on the waves of his own music with […]
An author’s perogative to be critical
“A writer is unfair to himself when he is unable to be hard on himself.”— Marianne Moore, American poet Donoghue, Denis (1988) Reading America.  University of California Press, p. 244
The piano, as distinct from the harp
Beethoven on the development of the piano as an instrument in its own right: There is no doubt that so far as the manner of playing it is concerned, the pianoforte is still the least studied and developed of all instruments; often one thinks that one is merely listening to a harp.  And I am […]
Bernstein’s Workroom
Leonard Bernstein’s children have donated the contents of his main composing studio to Indiana University.   The contents include “Bernstein’s stand-up composing table; a conducting stool that may have been used by Brahms, given as a gift by the Vienna Philharmonic; an electric pencil sharpener; a telephone; an ashtray and disposable lighters; Grammy-nomination plaques; and […]
Smooth jazz finds new way to reach audiences
With shifts in the commercial music industry away from smooth jazz, musicians are finding new niches for smooth jazz such as cruises. Twenty years ago, of course, smooth jazz wasn’t a code to be cracked so much as a wave to be caught. Like most species of pop, it felt ubiquitous and maybe a little […]
Performance anxiety
“There is no anxiety in the present. Anxiety is either in the past, worrying about what was just played, or in the future, worrying about what you are about to play. Nothing can be done about either! Don’t judge or evaluate while you’re performing.” — Charles Schlueter, principal trumpet with the Boston Symphony. Cited in: […]
The effect of art
“There’s a phrase I’ve often heard from audience members at popular musicals (but, oddly, never anywhere else): the show, they’ll say, “really took me out of myself”.  They are saying something basic and profound about the ecstasy of art, the act of being taken out of one’s normal state to a different level of being.  […]