A Quote by Krzysztof Penderecki

At school, I wrote in the style of the Dutch composers. After I graduated, a new style set in. — © Krzysztof Penderecki
At school, I wrote in the style of the Dutch composers. After I graduated, a new style set in.
A design style is defined by a set of microdecisions. A clear style reflects a consistent set. A clear style may not be a good style; a muddled one never is.
I think that what's been holding composers back a great deal is that they feel they must have a new style every year. This, in my case, would be hopeless. In fact, it is said that I have no style at all, but that doesn't matter. I just go on doing, as they say, my thing. I believe this takes a certain courage.
I have been robbed of three million dollars all told. Everyone today is playing my stuff and I don't even get credit. Kansas City style, Chicago style, New Orleans style hell, they're all Jelly Roll style.
If you set out to copy after one master today and after one tomorrow, you will not acquire the style of either one or the other, and you will inevitably become fantastic, because each style will fatigue your mind.
When a new writer defends his "style," the teacher smiles (or cringes) because real style isn't an artifice. Real style - voice - arrives on its own, as an extension of a writer's character. When style is done self-consciously and purposefully it becomes affectation, and as transparent as any affectation - an English accent on an old college chum from New Jersey, for example.
A style does not go out of style as long as it adapts itself to its period. When there is an incompatibility between the style and a certain state of mind, it is never the style that triumphs.
Style is just an impression. Style itself is hollow. Style, its ok style as long as it is part of a language. Style for style itself is just something very hollow.
I was a young age, 16 years old, in Mexico. I traveled to these different countries, and I have the new style from Mexico and TNA. I wrestled two years in Florida, then back in Japan, and everything combined for a new style. It's different. I was looking for old school wrestling that looked new.
But everything written has style. The list of ingredients on the side of a cornflakes box has style. And everything literary has literary style. And style is integral to a work. How something is told correlates with - more - makes what's being told. A story is its style.
My style is raw; my style is '95. My style is what I live. My style is my story.
The most important thing in life is style. That is, the style of ones existence-the characteristic mode of ones actions-is basically, ultimately what matters. For if man defines himself by doing, then style is doubly definitive, because style describes the doing.
I don't believe, in the end, that there is any such thing as no style. Even a very neutral, plain style, one that doesn't use colloquialisms, lyrical flourishes, heavy supplies of metaphor, etc., is a style, and it becomes a writer's characteristic style just as much as a thicker, richer deployment of idiom and vocabulary.
I've come up with another formulation about style: that it's essentially a manifestation of a certain habitual set of limitations. It's what a composer does NOT do that defines a style.
After all, I believe it is the style of thought entirely, and the style of expression, which makes the difference in books.
I think style is being so comfortable and confident in what you're wearing. That's what style is, 'cause everybody's got different style.
The science of style as an organ of thought, of style in relation to the ideas and feelings, might be called the organology of style.
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