A Quote by Clarice Lispector

For at the hour of death you became a celebrated film star, it is a moment of glory for everyone, when the choral music scales the top notes. — © Clarice Lispector
For at the hour of death you became a celebrated film star, it is a moment of glory for everyone, when the choral music scales the top notes.
I practice all the scales. Everyone should know lots of scales. Actually, I feel there are only scales. What is a chord, if not the notes of a scale hooked together?
Now, the fourth gospel says that the moment that Jesus is glorified is the moment he's put to death on the cross, not the resurrection. The moment he's put to death on the cross is when he shows forth glory, and the reason that is, is that he became free enough to give his life away and to love those who were taking it from him. And that's what God is all about. That's the mystical point of view that was hidden from me for years.
I've learnt new scales through playing different types of music, like Indian raga scales, gipsy scales and harmonically-based jazz scales.
My father was working on his Ph.D. on Danish choral music - the Danish choral music of Carl Nielsen - so over there to do research.
As deaths have accumulated I have begun to think of life and death as a set of balance scales. When one is young, the scale is heavily tipped toward the living. With the first death, the first consciousness of death, the counter scale begins to fall. Death by death, the scales shift weight until what was unthinkable becomes merely a matter of gravity and the fall into death becomes an easy step.
Performing music is a way to do comedy, but without the obligation to do a solid hour, hour and half of a standup. I could intersperse it with music, so it became a really good format for me.
If we practice stepping into the unknown, moment by moment, hour by hour, millions of times, then death is just the next step into the unknown. It loses its terror.
I'd say for a film composer, 'Star Wars' is kind of like the holy grail of film music. It's probably the best film music ever written.
The star [Tycho's supernova] was at first like Venus and Jupiter, giving pleasing effects; but as it then became like Mars, there will next come a period of wars, seditions, captivity and death of princes, and destruction of cities, together with dryness and fiery meteors in the air, pestilence, and venomous snakes. Lastly, the star became like Saturn, and there will finally come a time of want, death, imprisonment and all sorts of sad things.
Death may call any moment. Every moment, everyone is nearing death.
To me singing is a joy. Choral singing is a delight. Welsh Choral singing is more than a delight. The Treorchy Male Choir is the best in choral singing. How then can they be described except in superlatives? They are without equal.
You have to remember one life, one death–this one! To enter fully the day, the hour, the moment whether it appears as life or death, whether we catch it on the inbreath or outbreath, requires only a moment, this moment. And along with it all the mindfulness we can muster, and each stage of our ongoing birth, and the confident joy of our inherent luminosity. (24)
The final hour when we cease to exist does not itself bring death; it merely of itself completes the death-process. We reach death at that moment, but we have been a long time on the way.
Sony could have $50 million and a sound stage and A-list actors and never make the same film. The constraints on this film became the essence of this film, became the power of this film.
Have you noticed that only in time of illness or disaster or death are people real? I remember at the time of the wreck-- people were so kind and helpful and solid. Everyone pretended that our lives until that moment had been every bit as real as the moment itself and that the future must be real too, when the truth was that our reality had been purchased only by Lyell's death. In another hour or so we had all faded out again and gone our dim ways.
You have to be ready, and also you have to discard notions that are fondly held by a lot of musicians, about sequences and notes and about scales and musical systems as a whole. If you think of music as a language, the space part is where you throw out all the syntax.
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