ABSTRACT

By “angle” Stravinsky refers to his own accent: his manner of composing, the manner in which, as an outsider, he sought to accommodate his discovery of the past. That is to say, he refers to his own inventive processes and to the way in which he sought to make the past a compositional reality. Stravinsky sought a backdrop of blandness, a cultural ostinato, and all square metrical dance schemes against which he could exert the play of his own devices. The passages cited by Taruskin would have been too heated, too individual, and too original to have had an appeal in this more immediate compositional sense. The world of Stravinsky has been made a good deal more interesting as a result of Taruskin’s formidable detective work. History and theory are ideally symbiotic, or so it appears to me, and ultimately so intertwined as to become indistinguishable.