Igor Stravinsky: 'Too many pieces of music finish too long after the end.'

Too many pieces of music finish too long after the end.

In his famous quote, composer Igor Stravinsky once remarked, "Too many pieces of music finish too long after the end." On the surface, this statement may seem puzzling or paradoxical, as the end of a piece traditionally signifies the conclusion. However, Stravinsky's words hold a deeper meaning, emphasizing the importance of brevity and effective endings in music. Beyond its direct interpretation, this quote also offers an opportunity to explore the philosophical concept of transcending boundaries and challenging conventional norms, shedding light on the role of art in shaping our perception of time and reality.First and foremost, Stravinsky's assertion underscores the significance of a well-crafted ending in music. In this context, "finishing too long after the end" refers to compositions that linger unnecessarily, prolonging their final notes and overstaying their welcome. Stravinsky suggests that such extended endings undermine the musical experience, resulting in a sense of dissatisfaction for the listener. Just like a thoughtful concluding sentence in a written piece, a well-executed concluding passage in music has the power to leave a lasting impression, bringing a sense of closure and emotional satisfaction to the audience. Therefore, Stravinsky's quote serves as a reminder to composers and musicians to be mindful of the length and impact of their musical endings.However, delving deeper into Stravinsky's words, we can unveil a philosophical undertone that challenges the notion of time and reality. By suggesting that the end of a piece can occur before its actual conclusion, the composer provokes us to consider the fluid concept of time and the limitations imposed by linear thinking. This unexpected twist introduces the concept of timelessness—a state where the boundaries of past, present, and future dissolve, allowing for a more abstract and transcendent experience. In this sense, Stravinsky's quote encourages us to explore music as a medium capable of transporting listeners beyond the constraints of traditional temporal structures, inviting us to embrace a more flexible perception of time.Furthermore, this philosophy of transcending boundaries finds resonance in various art forms beyond music. Consider the visual arts, where painters like Salvador Dali challenged conventional perspectives by altering the concept of time within their surrealistic masterpieces. Dali's famous work, "The Persistence of Memory," with its melting clocks, offers a visual representation of the fluidity and malleability of time. Similarly, in literature, pioneers like James Joyce experimented with narrative structures in works like "Finnegans Wake," defying linear temporality and exploring the realms of dreams and subconsciousness. These artistic endeavors allude to the immense power of art to question reality and provoke a reevaluation of our understanding of time.Through Stravinsky's quote, we are prompted to reflect on the intricate relationship between art, perceived reality, and the manipulation of time. In a world often governed by rigid schedules and linear narratives, art serves as a gateway to escape temporal confines and embrace novel perspectives. Just as a piece of music can deviate from conventional time signatures or cadences, challenging expectations and norms, art has the capacity to break barriers and redefine our experience of reality. It grants us the freedom to reassess our relationship with time and to explore alternative dimensions of existence.Ultimately, Igor Stravinsky's quote, "Too many pieces of music finish too long after the end," extends beyond its initial meaning to become an open invitation to explore the fluidity of time and reality. Through the lens of this profound philosophical concept, we can unlock new dimensions of understanding and appreciation for art across various disciplines. Stravinsky's words are a reminder for us all, as artists and audience members, to seek experiences that transcend perceived boundaries and to embrace the enchanting possibilities that lie beyond the confines of traditional conventions.

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Igor Stravinsky: 'A good composer does not imitate; he steals.'

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Igor Stravinsky: 'Harpists spend 90 percent of their lives tuning their harps and 10 percent playing out of tune.'