A Quote by Jonis Agee
From the opening lines, Sleeping with Schubert is a hilarious, whimsical romp through the looking glass of a great musical mystery. The writing snaps, crackles, and pops with humor as Bonnie Marson makes Schubert a sexy, happening kind of guy who gives new meaning to our dreaming the impossible.
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A Schubert song, the A-major chord at the opening of Wagner's 'Lohengrin' - such incredible beauty is a mystery, the divinity of music.
When people listen to my music, I hope that they will notice that if you take a piece by a composer like Schubert, the major and the minor triad is an extermely important thing not merely as harmony, but in creating melodic lines. Schubert is always walking up and down with arpeggios on C, E, G and so forth. I am not doing anything different really, except using a different system of harmony.
Nothing is so musical as the sound of pouring bourbon for the first drink on a Sunday morning. Not Bach or Schubert or any of those masters.
My dresser and I have the hots for the new rugby ace Danny Cipriani. We have a shrine in my dressing room - press photos of him on the field looking swarthy and fit, and snaps of our boy emerging from Mayfair nightclubs, looking sexy and dishevelled.
To my mind and ear, there is simply nothing that compares to the musical sophistication of a late Beethoven, Bartok, Schubert or Brahms work for minimal forces.
My grandmother was a classical pianist, so I grew up with Schubert, Mozart, Beethoven. I studied piano as a kid. My musical background and upbringing was very much a mix.
My favorite kind of humor is basically, if it was happening to you, it wouldn't be funny, but to observe it, it's hilarious.
What makes a nightmare nightmarish is the sense that something is happening that should not be. While nightmares are the most convenient reference point for this sense of the impossible, the unthinkable, as something that is actually happening, it is not restricted to our sleeping hours.
I never listen to music when I am writing. It would be impossible. I listen to Bach in the mornings, mostly choral music; also some Handel, mostly songs and arias; I like Schubert's and Beethoven's chamber music and Sibelius' symphonies; for opera, I listen to Mozart and in recent years Wagner.
Something about the topic of consciousness makes people, like the White Queen in Through The Looking Glass, believe six impossible things before breakfast.
It's easier to interest a conservative audience in pushing the musical boundaries than to involve a young audience used to very noisy, assertive music in something like Schubert or Bach because the further back you go, the less bells and whistles there are.
I really don't think I have that much of the gift; I have a little bit, but I wish I were Schubert or Chopin or Beethoven, though Beethoven had a very difficult time writing melody, too.
But I am all for love, and I am against marriage, particularly the arranged kind, because the arranged marriage gives you satisfaction. And love? - love can never satisfy you. It gives you more and more thirst for a better and better love, it makes you more and more long for it, it gives you tremendous discontentment. And that discontent is the beginning of the search for God. When love fails many times, you start looking for a new kind of lover, a new kind of love, a new quality of love. That love affair is prayer, meditation, sannyas.
Human beings are like detectives. They love a mystery. They love going where the mystery pulls them. What we don't like is a mystery that's solved completely. It's a letdown. It always seems less than what we imagined when the mystery was present. The last scene in `Blow Up' is so perfect because you leave the theater still dreaming. Or the end of `Chinatown,' where the guy says `Forget it, Jake, it's Chinatown.' It explains so much but it only gives you a dream of a bigger mystery. Like life. For me, I want to solve certain things but leave some room to dream.
Composers most identified with the chamber music form are Corelli, Vivaldi, Haydn, Mozart, Beethoven, Schubert and, of course, Bach. Of course, Bach. If there is any one composer who gives us reason and emotion, it is Bach.
I did classical singing at school. I did exams in that. I'd sing soprano, and we'd sing in German; we'd do Schubert for my pieces, in Latin, French... I really enjoyed that. I kind of miss it.
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