Signature Quotes - page 4
From my music training, I knew that, some Spanish rhythms apart, 5/4 is a time signature used only in the modern era. Holst's Mars from the Planets is 5/4. But if you speak lines of poetry in that pattern you just end up hitting the off-beats. It's only when you add a rest - a sixth beat - that it sounds as it surely should sound.
Nicholson Baker
The poet's need to try to find his own voice, a recognizable individual voice that carries the signature of his voice in almost every line... the unique tone being the consequence of the poet's rigorous search for truth ( his truth(, his absolute fidelity to the nature of the experience he was exploring.
Vernon Scannell
The serve, I was too young and too small and... not enough powerful to have a good serve when I was young, so my forehand was always my signature shot. So I used to always run around my backhand, you know, use my forehand as much as I could, and so that's why I think it's my strength also today, you know.
Roger Federer
The inspiring theory for Bretton Woods was suggested by a well known economist, beyond any suspect, John M. Keynes. Lord Keynes - as in the meanwhile he has been appointed by the English Crown - appeared worried about possible troubles in the international system of payments, like those occurred after World War One, which contributed to the new conflict. He has published an article on this subject in 1946. Consequently he gave the blessing of his authority to the agreements. Lord Keynes, as chief of the British delegation, was appointed chairman of the Commission II, charged for the institution of an International Bank for Reconstruction and Development - IBRD (World Bank). The Bretton Woods agreements represented a sort of solemn will for Lord Keynes, since he died out two years later the signature.
Nico Perrone
Let's take a look at the 25th variation of the second part. Here Bach meets us in his highest and deepest personal and human form: it's like in the Art of Fugue in the unfinished fugue No. 20, where Bach confronts us with his personal signature. It was he himself, who, after he had been occupied during his whole life with symbols, with numbers, with the mastering of structural and formal problems and renewals, now he saw himself confronted with a personal view into mirror. He now shows us a human being in his whole conception of life. The composer of "Come, oh sweet death” now is confessing, "Oh sweet death, how bitter is your prickle.”.
Burkard Schliessmann
