Igor Stravinsky 1882-1971
What is the function of music in moving pictures? What, you ask, are the particular problems involved in music for the screen? I can answer both questions briefly. And I must answer them bluntly. There are no musical problems in the film. And there is only one real function of film music – namely, to feed the composer! In all frankness I find it impossible to talk to film people about music because we have no common meeting ground; their primitive and childish concept of music is not my concept. They have the mistaken notion that music, in "helping" and "explaining" the cinematic shadow-play, could be regarded under artistic considerations. It cannot be.
I live in a land where deference towards one's elders is scarcely the rule; young people grow up to think in terms of a man's essential worth rather than his seniority. "Essential worth" is, of course, a fancy generalization. It is a variable, a term that permits too many subjective responses. Nevertheless, the essential worth of a man like Igor Stravinsky is hardly disputable – when he is writing music. In the role of critic, however, his greatness is questionable. His recent pronouncements make this abundantly clear.
Walt Disney & Igor Stravinsky discuss the score to The Rite of Spring, photo Disney Studios December 1939. Walt offered a copy of the score to Stravinsky during the studio visit but Igor declined saying he had his own with him. Stravinsky was then told the score had changed.
