Spring 1963 • Vol. XXV No. 2 NonfictionApril 1, 1963 |

Making Time: A Study of Stravinsky, Proust, and Sartre

Roger Shattuck MAKING TIME: A STUDY OF STRAVINSKY, PROUST, AND SARTRE To SPEAK OF STRAVINSKY WITHOUT FULL COMPETENCE rO DEAL in musical terms with his style, structure, and technique is to run an intellectual risk of the first order. In a lengthy and single-minded career that includes five books of articulate com- mentary, the composer has insisted that his music means exact- ly what it says and no two ways about it. He sees no reason for translating his works into any profane language of program or philosophy or cultural context. So be it. Yet the literary man such as I, who must resign himself to being (in Stravinsky's own terms) an "incompetent critic," may have to run the risk of making interpretations. He does so not in order to avoid the music but to come to it with statements that carry his sense of its significance. In short, Stravinsky means something to me. I believe I can best approach the music in itself by first consid- ering it in a context of associations, and then de

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