At first we got along very well. Esipova even boasted outside the class that she had pupils who wrote sonatas (I completed Sonata, Op. 1, and played it to Esipova, who took it home and inserted pedaling). But before long trouble began. Esipova's method of teaching was to try to fit everyone into a standard pattern. True, it was a very elaborate pattern, and if the pupil's temperament coincided with her own, the results were admirable. But if the pupil happened to be of an independent cast of mind Esipova would do her best to suppress his individuality instead of helping to develop it. Moreover, I had great difficulty in ridding myself of careless playing, and the Mozart, Schubert and Chopin which she insisted on were somehow not in my line. At that period I was too preoccupied with the search for a new harmonic idiom to understand how anyone could care for the simple harmonies of Mozart.
Anna YesipovaRelated topics
anyone begin best care cast chopin difficulty everyone fit great harmonic helping home idiom line mind outside playing pupil rid search simple sonata take teaching trouble try well Mozart SchubertRelated quotes
I think I've gone through quite an ordinary series of steps in life. I began as most children began, with God and Santa Claus and the tooth fairy and the Easter Bunny all being about the same thing. Then I went through the things that I think sensitive people go through, wrestling with the thoughts of Jesus-did he shit? Did he screw? I began to dare to believe that God wasn't some white beard. I began to look upon the miseries of the human race and to think God was not as simple as my mother said. As nearly as I can concentrate on the question today, I believe I am God; certainly you are, I think we intelligent beings on this planet are all a piece of God, are becoming God. In some sort of cyclical non-time thing we have to become God, so that we can end up creating ourselves, so that we can be in the first place. ... My own feeling is that relation to God as a person is a petty, superstitious approach to the All, the infinite.
Gene Roddenberry
Religionists have kept their followers in line by suppressing their egos. By making their followers feel inferior, the awesomeness of their god is insured. Satanism encourages its members to develop a good strong ego because it gives them the self-respect necessary for a vital existence in this life. If a person has been vital throughout his life and has fought to the end for his earthly existence, it is this ego which will refuse to die, even after the expiration of the flesh which housed it. Young children are to be admired for their driving enthusiasm for life. This is exemplified by the small child who refuses to go to bed when there is something exciting going on, and when once put to bed, will sneak down the stairs to peek through the curtain and watch. It is this child-like vitality that will allow the Satanist to peek through the curtain of darkness and death and remain earthbound.
Anton LaVey
To approach Chopin, you have to separate him completely from Schumann. Schumann admired Chopin very much and saw him as friend, but - what only few people know - Chopin himself had much less interest in and esteem for Schumann. In detail: Schumann's works follow on from a transitional period determined by the successors of Viennese Classicism, particularly Beethoven. Just as the sons of Bach espoused the ‘galant,' ornamented style of their generation, so the pupils of Mozart and Beethoven - Hummel, Ries, Czerny, Moscheles - took pains to compensate for a thinner musical substance with increased instrumental brilliance and thus prepared the ground for the golden age of the piano and the era of the Romantic virtuoso. Among the multitude of composers writing for the piano at that time, only two - Weber and Schubert - stand out as original creative forces.
Burkard Schliessmann
Are we innately aggressive?” asked Aquinas. "Was the nuclear predicament symptomatic of a more profound depravity? Nobody knows. But if this is so-and I suspect that it is-then the responsibility for what we are pleased to call our inhumanity still rests squarely in our blood-soaked hands. The killer-ape hypothesis does not specify a fate-it lays out an agenda. Beware, the fable warns. Caution. Trouble ahead. Genocidal weapons in the hands of creatures who are bored by peace.”
"I think I'm going to throw up,” said Brat.
"But the fable went unheeded. And the weapons, unchecked. And then, one cold Christmas season, death came to an admirable species-a species that wrote symphonies and sired Leonardo da Vinci and would have gone to the stars. It did not have to be this way. Three virtues only were needed-creative diplomacy, technical ingenuity, and moral outrage. But the greatest of these is moral outrage.
James K. Morrow
Part of the unknown reality, then, is hidden beneath language and the enforced pattern of accustomed words-so, for an exercise, look about your environment. Make up new, different 'words' for the objects that you see about you. Pick up any object, for example. Hold it for a few seconds, feel its texture, look at its color, and spontaneously give it a new name by uttering the sounds that come into your mind. See how the sounds bring out certain aspects of the object that you may not have noticed before. The new word will fit as much as the old one did. It may, in fact, fit better. Do this with many objects, following the same procedure. You can instead say the name of any object backwards. In such ways you break up to some extent the automatic patterning of familiar phrases, so that you can perceive the individuality that is within each object.
Robert Butts