John Tavener writes in today's Guardian - Since the age of 12, when I heard the world premiere of the Canticum Sacrum, I have loved the music of Stravinsky. After hearing the Canticum I went to every concert conducted by him in London. I vividly remember that on one occasion I was introduced to Stravinsky by Rufina Ampenoft of Boosey & Hawkes, for she had previously given him a score of one of my first pieces, The Donne Sonnets. As I peered down at his tiny but muscular form, he inscribed the score with two mysterious words: "I know." I never found out what he meant by this, but intuitively I felt that it was in some way tongue-in-cheek, and therefore linked to the spiritual world of the holy fool, common to all traditions.
The last time I saw Stravinsky, in Oxford after a memorable performance of the Symphony of Psalms, I went backstage, and he happened to take my arm (because no one else was available!) so that he could descend the stairs to the stage door where hundreds of admirers awaited him. With his basso-profundo, thickly Russian-accented English, he said: "Up to heaven, down to hell." Again, tongue-in-cheek, he revealed a childlike but profound truth.
Time passed, and I moved away from the influence and the colossal impact that Stravinsky had on me. It is only recently, more than 40 years on, that I have re-immersed myself in his work, but in a totally different and more contemplative way.
I write this tribute now to Stravinsky, surrounded by metaphysical axioms and criteria according to all religious traditions, and my estimation of his greatness is determined entirely by them. I want to try to understand Stravinsky's stature by placing his music besides permanent and universal truths, essential truths, situated outside time and space. Stravinsky himself could not equate music with metaphysics, but this was a personal defect in a man who did not understand the true nature of objectivity. To be objective is to know, to will and love things as they are without any subjective deformation. Like many of his generation, he believed that to be objective in art meant a non-expressive coldness, and a complete lack of sentiment. Stravinsky (right) believed that music could express nothing at all. Thank God that most of his finest music belies this nonsense! - For the full story follow this link.
Now find out who, in my header photo, is Walking with Stravinsky
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