"Le Sacre du Printemps": d'Stravinsky a Jaume Vidal Alcover. Anàlisi d'un transvasament alfabètic

Abstract

Stravinsky's music is the starting point of Jaume Vidal’s fourteen poems who try to capture the Russian composer’s rhythmic structures transforming them into lyrics. The Majorcan poet
resorts to punctuation marks, to the connotation of words and the specific arrangement of rhythmic clauses to do so. The presence of the musical text in the poetic text does not determine its meaning which is increased by the poet’s new points of view. This essence of
the intertextual relationship may be seen when Vidal dilutes the generic borders in favour of the dialogic coexistence between them. The poetic discourse transmits the music’s sensitive reality with its special articulation, but, on the other hand, it has an inescapable conceptual side: the listener who knows the poet's lyrics will have a perception of the musical creation that is much richer and more varied.