A Quote by Ludwig van Beethoven
It is the power of music to carry one directly into the mental state of the composer.
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Perhaps within the next hundred years, science will perfect a process of thought transference from composer to listener. The composer will sit alone on the concert stage and merely 'think' his idealized conception of his music. Instead of recordings of actual music sound, recordings will carry the brainwaves of the composer directly to the mind of the listener.
My pieces usually are programmed on concerts in which the other works are standard repertoire. My music always sounds very different when it's on a concert of all contemporary music. It always seems to stick out at an odd angle. This also makes me think of a question I sometimes debate with my friends: does the music of a composer directly reflect that composer's personality? This is a difficult one, but I think it usually does.
If a composer could state in words what being a composer means, he would no longer need to be a composer.
Music is my natural language. I have always had a form of dyslexia. I never studied music formally, so emotions come directly from the source into song mode. As a composer, it may be fortuitous. What I feel is what you get.
Every composer's music reflects in its subject-matter and in its style the source of the money the composer is living on while writing the music.
Music, uniquely among the arts, is both completely abstract and profoundly emotional. It has no power to represent anything particular or external, but it has a unique power to express inner states or feelings. Music can pierce the heart directly; it needs no mediation.
See, as a music composer, I am not competing with any music composer.
The Truth-power must be brought down from above into that state of peace, and this higher power - Parashakti - will directly guide the vehicle - ?dh?ra - and transform it.
It is unfortunately none too well understood that, just as the State has no money of its own, so it has no power of its own. All the power it has is what society gives it, plus what it confiscates from time to time on one pretext or another, there is no other source from which State power can be drawn. Therefore every assumption of State power, whether by gift or seizure leaves society with so much less power; there is never, nor can be, any strengthening of State power without a corresponding and roughly equivalent depletion of social power.
Music is the shorthand of emotion. Emotions, which let themselves be described in words with such difficulty, are directly conveyed to man in music, and in that is its power and significance.
[T]he mass-man sees in the State an anonymous power, and feeling himself, like it, anonymous, he believes that the State is something of his own. Suppose that in the public life of a country some difficulty, conflict, or problem presents itself, the mass-man will tend to demand that the State intervene immediately and undertake a solution directly with its immense and unassailable resources. This is the gravest danger that to-day threatens civilisation: State intervention; the absorption of all spontaneous social effort by the State.
The sovereignty of the state as the power that protects the individual and that defines the mutual relationships among the visible spheres, rises high above them by its right to command and compel. But within these spheres ... another authority rules, an authority that descends directly from God apart from the state. This authority the state does not confer but acknowledges.
The Spirit speaks directly to our hearts through music. That's why music has always had such power to move people into positive action.
Perhaps the chief requirement of [the conductor] is that he be humble before the composer; that he never interpose himself between the music and the audience; that all his efforts, however strenuous or glamorous, be made in the service of the composer's meaning - the music itself, which, after all, is the whole reason for the conductor's existence.
When I'm writing a play I hear it like music. I use the same indications that a composer does for duration. There's a difference, I tell my students, between a semi-colon and a period. A difference in duration. And we have all these wonderful things, we use commas and underlining and all the wonderful punctuation things we can use in the same way a composer uses them in music. And we can indicate, as specifically as a composer, the way we want our piece to sound.
I think that if I were required to spend the rest of my life on a desert island, and to listen to or play the music of any one composer during all that time, that composer would almost certainly be Bach.
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