A Quote by Caroline Shaw
'Partita' is a simple piece. Born of a love of surface and structure, of the human voice, of dancing and tired ligaments, of music, and of our basic desire to draw a line from one point to another.
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Arriving at a simple piece of music is a very difficult balance because, in being simple, you could easily be banal, so maybe it's more difficult to write a simple piece of music than a 12-tone piece where no one understands exactly what it is about.
It's no accident, I think, that tennis uses the language of life. Advantage, service, fault, break, love, the basic elements of tennis are those of everyday existence, because every match is a life in miniature. Even the structure of tennis, the way the pieces fit inside one another like Russian nesting dolls, mimics the structure of our days. Points become games become sets become tournaments, and it's all so tightly connected that any point can become the turning point. It reminds me of the way seconds become minutes become hours, and any hour can be our finest. Or darkest. It's our choice.
Well I guess my music came to prominence around one piece called 'In C' which I wrote in 1964 at that time it was called 'The Global Villages for Symphonic Pieces', because it was a piece built out of 53 simple patterns and the structure was new to music at that time.
More fundamental than religion is our basic human spirituality. We have a basic human disposition towards love, kindness and affection, irrespective of whether we have a religious framework or not. When we nurture this most basic human resource - when we set about cultivating those basic inner values which we all appreciate in others, then we start to live spiritually.
My own movement of thought is not meant to be a straight point-to-point, linear line of march, but horizontal exploration from one area of interest to another. There is no ultimate destination - no finish line to cross, no final conclusion to be reached. It's the way I feel about dancing - you move around a lot, not to get somewhere, but to be somewhere in time.
When there is a voice in a piece of music, we tend to focus on the voice. That is probably something from when we were babies and we depended on hearing our mother's voice.
We all like to look good. However, this basic human desire can often get in the way of our listening and our speaking. This tendency often evinces itself in two simple words: 'I know.' But if I know everything, what can I learn? Absolutely nothing.
I was always into bluegrass as a kid. Basically, I like music that has a basic simple structure and that has a lot of emotion and feel. Bluegrass and other old time music fits the bill, as well as what became punk - they both kind of have a similar framework.
If you're writing a piece for the Boston Pops, the balance is towards one end. If you're writing a piece for a chamber music society, then it's towards another point. I won't make a final answer on that. I think it changes with every piece.
In some traditional African dances, people wear masks in order to become the embodiments of particular spirits. I have heard that they often cover the mouth-piece with spider webs or something that resonates, so that their voice gets distorted, ceasing to be the voice of a human and becoming representative of a voice that comes from another world.
While most of the music I write is instrumental, I love to use the human voice as another instrument.
I do love voices so much that I will use them and manipulate them. The presence of a human voice in a piece of music is really exciting, even if it's just someone's breathing.
Every great artist must begin by learning to draw with the single line, and my advice to young animators is to learn how to live with that razor-sharp instrument or art. An artist who comes to me with eight or ten good drawings of the human figure in simple lines has a good chance of being hired. But I will tell the artist who comes with a bunch of drawings of Bugs Bunny to go back and learn how to draw the human body. An artist who knows that can learn how to draw ANYTHING, including Bugs Bunny.
If one's desire for change is an earnest desire to see things improve, then surely there is a state in which things have been improved to the point where you would hope to conserve a structure rather than alter it. At that point, you become a conservative.
If you have a piece by Bach, he often develops the piece to such a high level that you can hardly do much more to it. But Saint-Luc wrote very simple baroque music, and so if you do not embellish it, it just falls apart. It's way too simple.
Whether we like it or not, we have all been born into this world as part of one great human family. Rich or poor, educated or uneducated, belonging to one nation or another, to one religion or another, adhering to this ideology or that, ultimately each of is just a human being like everyone else. We all desire happiness and do not want suffering.
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