Stravinsky's Poétique musicale: The Composer as Homo faber. Antisemitism, Le Sacre du printemps, and Adorno's Critique

• Tejeda Barros, Antonia ^[1]
  1. [1] Tiergarten 4 Association
• Localización: Arte, entre paréntesis, ISSN 2448-5950, Vol. 1, Nº. 18, 2024 (Ejemplar dedicado a: Arte, entre paréntesis), págs. 18-33
• Idioma: español
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• Resumen

  • Stravinsky considered himself a maker, a Homo faber, an artisan of the past. He confessed that he liked to compose music more than music itself, and argued that expression was not an immanent character of music. With this paper I intend to discuss Stravinsky's musical aesthetics (the Charles Eliot Norton Lectures given right after the outbreak of WWII –Poétique musicale), conveying and criticizing his notion of expression and of the musician as mere "executant", among others. I will also point some biographical important details out (the controversial premiere of Le Sacre du printemps and Stravinsky's antisemitism) while criticizing Adorno's harsh critique on Stravinsky's music.