A Quote by May Sarton

My musical genius reached its apex thirty years ago when I played the triangle in Haydn's children's symphony, so I could not play unless you needed someone to make one sustained note!
You need particular note or rhythm in the symphony to be that minor key, or that sharp key or major chord. In musical terms, I try to hit the right note. But not alter the score of the music, just emphasize the note correctly.
He wanted us to play whatever we played in the most characteristic and appropriate style. Even it was the theme from 'The Godfather,' you needed to play that then the way that a Hollywood producer would expect it to be played. Whether it was that or the posthorn solo from Mahler's Symphony No. 3, he would expect that to be played in the way that Leonard Bernstein wanted to hear it. In retrospect, I think it was a sensational way to teach this particular group of students. By the time you graduated you could absolutely read anything with any trumpet.
It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of symphony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work, I called it the Classical Symphony.
Each day for me is a musical note that I use to compose the symphony of my life.
I taught myself to play the guitar by listening to Paul Simon records, working it out note by note. He is an incredibly intelligent musician. He's not someone who has a natural outpouring of melody like McCartney or Dylan, who are just terribly prolific with musical ideas.
The amazing thing about the cistern is that, if you're improvising in a dead room, you play your note and then you're left with your thoughts and you have to be really quick on your feet and be able to move through many different musical thoughts seamlessly. Improvising there is just, like, you play a note and then you had at least ten seconds to think, "What would be the perfect accompanying note to that?" And then you could add that note. You can just build this puzzle that was really amazing.
A Haydn symphony had a meaning for the social group that listened to it. A Mahler symphony had a meaning for the man who composed it. Here is the difference between the classical and romantic attitudes to art.
Have you seen a symphony orchestra? There is a person at the back carrying a triangle. Now and again the conductor will point to him or her and that person will play "ting." That might seem so insignificant, but in the conception of the composer something irreplaceable would be lost to the total beauty of the symphony if that "ting" did not happen.
Most people are fascinated to see someone play an instrument in an inspired way. We are moved by witnessing musical brilliance, and it was this notion that led me to purchase the GuitarTV domain 10 years ago.
One of the first guys I ever played golf with was Samuel L. Jackson. We did a movie many years ago and would play whenever we could.
Some of my favorite music in the world is Haydn. I had a sabbatical one year and made myself one promise: to play a different Haydn piano sonata each day - they are inexhaustible treasures.
If a professional musician in a symphony orchestra is playing Beethoven. But this particular orchestra have played this particular chestnut so many times, they can play it in their sleep. Does the genius remain present in the music or not?
Well I think in all the thirty years I've been doing this now and being gone from home and all that stuff it's really, it's not about what I've achieved and if I've become a better player, or played better ten years ago than I do today.
I think my first impression (of Bix Beiderbecke) was the lasting one. I remember very clearly thinking, 'Where, what planet, did this guy come from? Is he from outer space?' I'd never heard anything like the way he played-not in Chicago, no place. The tone-he had this wonderful, ringing cornet tone. He could have played in a symphony orchestra with that tone. But also the intervals he played, the figures-whatever the hell he did. There was a refinement about his playing. You know, in those days I played a little trumpet, and I could play all the solos from his records, by heart.
If all experienced God in the same way and returned Him an identical worship, the song of the Church triumphant would have no symphony, it would be played like an orchestra in which all instruments played the same note.
"God loves all his children" is somehow forgotten But we paraphrase a book written thirty-five hundred years ago.
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