From Igor Stravinsky’s Lectures on “The Poetics of Music”
“The idea of work to be done is for me so closely bound up with the idea of arranging the materials and of the pleasure that the actual doing of the work affords is that, should the impossible happen and my work suddenly be given to me in a perfectly completed form, I should be embarrassed and nonplussed by it, as by a hoax.
“We have a duty toward music, namely, to invent it. … Invention presupposes imagination but should not be confused with it. For the act of invention implies the necessity of a lucky find and of achieving full realization of this find. What we imagine does not necessarily take on a concrete form and may remain in a state of virtuality, whereas invention is not conceivable apart from its actually being worked out.
“Thus what concerns us here is not imagination in itself, but rather creative imagination: the faculty that helps us to pass from the level of conception to the level of realization.
“In the course of my labors I suddenly stumble upon something unexpected. This unexpected element strikes me. I make note of it. At the proper time I put it to profitable use. This gift of chance must not be confused with that capriciousness of imagination that is commonly called fancy. Fancy implies a predetermined will to abandon oneself to caprice. The aforementioned assistance of the unexpected is something quite different. It is a collaboration which is immanently bound up with the inertia of the creative process and is heavy with possibilities which are unsolicited and come most appositely to temper the inevitable over-rigorousness of the naked will. And it is good that this so.
” ‘In everything that yields gracefully,’ G.K. Chesterton says somewhere, ‘there must be resistance. Bows are beautiful when they bend only because they seek to remain rigid. Rigidity that slightly yields, like Justice swayed by Pity, is all the beauty of the earth. Everything seeks to grow straight, and happily, nothing succeeds in so growing. Try to grow straight and life will bend you.’
“The faculty of creating is never given to us all by itself. It always goes hand in hand with the gift of observation. And the true creator may be recognized in his ability always to find about him, in the commonest and humblest thing, items worthy of note. He does not have to concern himself with a beautiful landscape, he does not need to surround himself with rare and precious objects. He does not have to put forth in search of discoveries: they are always within his reach. He will have only to cast a glance about him. Familiar things, things that are everywhere, attract his attention. The least accident holds his interest and guides his operations. If his finger slips, he will notice it; on occasion, he may draw profit from something unforeseen that a momentary lapse reveals to him.
“One does not contrive an accident: one observes it to draw inspiration therefrom. An accident is perhaps the only thing that really inspires us. A composer improvises aimlessly the way an animal grubs about. Both of them go grubbing about because they yield to a compulsion to seek things out. What urge of the composer is satisfied by this investigation? The rules with which, like a penitent, he is burdened? No: he is quest of his pleasure. He seeks a satisfaction that he fully knows he will not find without first striving for it. One cannot force one’s self to love; but love presupposes understanding, and in order to understand, one must exert one’s self.
“It is the same problem that was posed in the Middle Ages by the theologians of pure love. To understand in order to love; to love in order to understand: we are here not going around in a vicious circle; we are rising spirally, providing we have made an initial effort, have even just gone through a routine exercise. …
“As for myself, I experience a sort of terror when, at the moment of setting to work and finding myself before the infinitude of possibilities that present themselves, I have the feeling that everything is permissible to me, the best and the worst; if nothing offers me any resistance, then any effort is inconceivable, and I cannot use anything as a basis, and consequently every undertaking becomes futile.
“Will I then have to lose myself in this abyss of freedom? To what shall I cling in order to escape the dizziness that seizes me before the virtuality of this infinitude? However, I shall not succumb. I shall overcome my terror and shall be reassured by the thought that I have the seven notes of the scale and its chromatic intervals at my disposal, that strong and weak accents are within my reach, and that in all of these I possess solid and concrete elements which offer me a field of experience just as vast as the upsetting and dizzy infinitude that had just frightened me. It is into this field that I shall sink my roots, fully convinced that combinations which have at their disposal twelve sounds in each octave and all possible rhythmic varieties promise me riches that all the activity of human genius will never exhaust.
“What delivers me from the anguish into which an unrestricted freedom plunges me is the fact that I am always able to turn immediately to the concrete things that are here in question. I have no use for a theoretic freedom. Let me have something finite, definite–matter than can lend itself to my operation only insofar as it is commensurate with my possibilities. And such matter presents itself to me together with its limitations. I must in turn impose mine upon it. So here we are, whether we like it or not, in the realm of necessity. And yet which of us has ever heard talk of art as other than a realm of freedom? This sort of heresy is uniformly widespread because it is imagined that art is outside the bounds of ordinary activity. Well, in art as in everything else, one can build only upon a resting foundation: whatever constantly gives way to pressure, constantly renders movement impossible.”