Symphony Quotes - page 4
Not just songs by Madonna and action films starring Arnold Schwarzenegger; it includes 1,700 symphony orchestras, opera attended by 7.5 million people every year, and museums that are visited by 500 million annually, almost all American museums, where entrance is quite often free, owe their existence and funding to private sponsors.
Jean-François Revel
That happens in the world, which we often witness in a public debate. Each of the speakers expresses himself imperfectly: no one of them hears much that another says, such is the preoccupation of mind of each; and the audience, who have only to hear and not to speak, judge very wisely and superiorly how wrongheaded and unskilful is each of the debaters to his own affair. Great men or men of great gifts you shall easily find, but symmetrical men never. When I meet a pure intellectual force, or a generosity of affection, I believe, here then is man; and am presently mortified by the discovery, that this individual is no more available to his own or to the general ends, than his companions; because the power which drew my respect, is not supported by the total symphony of his talents.
Ralph Waldo Emerson
There is a kind of second law of cultural dynamics which states simply that when anything has been done, it cannot be done again. In other words, we start off any system with a potential for novelty which is gradually exhausted. We see this in every field of human life, in the arts as well as the sciences. Once Beethoven has written the Ninth Symphony, nobody else can do it. Consequently, we find that in any evolutionary process, even in the arts, the search for novelty becomes corrupting. The "entropy trap" is perhaps the most subtle and the most fundamental of the obstacles toward realising the developed society...
Kenneth Boulding
Painting is a thundering conflict of different worlds, which in and out of the battle with one another are intended to create the new world, which is called the world of art. Each work arises technically in a way similar to that in which the cosmos arose – through catastrophes, which from the chaotic roaring of the instruments finally create a symphony, the music of the spheres. The creation of the work is the creation of worlds.
Wassily Kandinsky
In the appreciation of a work of art or an art form, consideration of the receiver never proves fruitful. Not only is any reference to a particular public or its representatives misleading, but even the concept of an "ideal" receiver is detrimental in the theoretical consideration of art, since all it posits is the existence and nature of man as such. Art, in the same way, posits man's physical and spiritual existence, but in none of its works is it concerned with his attentiveness. No poem is intended for the reader, no picture for the beholder, no symphony for the audience.
Walter Benjamin
Another equally true saying of Schumann is that, compared with Beethoven, Schubert is as a woman to a man. For it must be confessed that one's attitudes towards him is almost always that of sympathy, attraction, and love, rarely that of embarrassment or fear. Here and there only, as in the Rosamund B minor Entr'acte, or the Finale of the 10th symphony, does he compel his listeners with an irrestistible power; and yet how different is this compulsion from the strong, fierce, merciless coercion, with which Beethoven forces you along, and bows and bends you to his will.
George Grove
Just as I was starting on my journey the idea came to me for a new symphony, this time with a program, but a program which will remain an enigma to all- let them guess it who can. It will be called "A Programmatic Symphony" (No. 6). During my trip, while composing in my mind, I frequently shed tears. When I got home I settled down to sketch it, and the work went so furiously that I had the first movement completely ready in less than four days and the remaining movements are already clearly outlined in my head. Half the third movement is already done. There will be much innovation of form in this symphony- and incidentally, the finale will not be a noisy allegro but, on the contrary, a long drawn-out adagio. You can't imagine what bliss I feel, being convinced that my time is not yet passed and I can still work. Perhaps, of course, I'm mistaken, but I don't think so.
Pyotr Ilyich Tchaikovsky
You ask if I would have been different without "Party guidance"? Yes, almost certainly. No doubt the line I was pursuing when I wrote the Fourth Symphony would have been stronger and sharper in my work. I would have displayed more brilliance, used more sarcasm, I could have revealed my ideas openly instead of having to resort to camouflage.
Dmitri Shostakovich
Not since the time of Berlioz has a symphonic composer created such a stir. In far-away America, great conductors vie with each other for the jus primae noctis of his music. The score of his Seventh Symphony, the symphony of struggle and victory, has been reduced to a roll of microfilm and flown half-way across the world...to speed the day of the American première. How the old romantics would have loved to be the center of such a fantastic adventure!
Dmitri Shostakovich
He never asks the orchestra to do anything which contradicts the players' feeling of what the music signifies or what the printed notes of the score actually mean in plain musical language. To his credit he does not pretend to omniscience. When a certain progression of programs with the Philharmonic decreed that he conduct the Brahms Fourth Symphony two seasons ago, he disavowed intensive rehearsals with the simple statement to the orchestra: "Gentlemen, you know the work better than I do." Both the compliment and the attitude endeared themselves so much to the orchestra that they literally forgot themselves in a mass effort to justify his statement-and, as one of those who heard the performance, I can testify that they delivered one of the most powerful and integrated interpretations of the score that New York has experienced in years.
Oscar Levant
When I came back [from a temporary stay in Paris] and heard you play with Charles Mingus, and when you and Cecil Taylor [also a free Jazz musician] opened up the 'Five Spot' in the Fall of 1956, I felt better about being in New York. All the musicians who create from the gut as well as their intellect can change things. People will never understand what we are doing if they can't feel... All art is abstract. All music is abstract. But it's all real... When you improvise, I can see the seeds of a symphony you could write. When I first heard Charlie Parker in Chicago, I could see he was a symphony.... we were all trying to bring that spirit, that spontaneous energy, into our work.
Joan Mitchell