A Quote by Peabo Bryson

If you have a Stradivarius and nobody to play it, it's just a Stradivarius. Or is it even that? It's nothing. — © Peabo Bryson
If you have a Stradivarius and nobody to play it, it's just a Stradivarius. Or is it even that? It's nothing.
I always have loved the Stradivarius. My teacher, Josef Gingold, he had a Stradivarius. As a treat, he would put it under my chin and let me play a few notes, and I remember that feeling of the overtones, the complexity of the sound. It's like a great wine.
I inherited a painting and a violin which turned out to be a Rembrandt and a Stradivarius. Unfortunately, Rembrandt made lousy violins and Stradivarius was a terrible painter.
The trick to playing second fiddle is to play it like second Stradivarius.
To me, the original VCS3 synthesizer is like a Stradivarius.
Synths are a very low level of artificial intelligence. Whereas you have a Stradivarius that will live for a thousand years.
The beauty of a Stradivarius is that you can play in Carnegie Hall without any amplification, and it has this - the sound has, inside it, has something that projects, and it has multifaceted sound, something that kind of gets lost when you use amplification anyway.
Watching your daughter being collected by her date feels like handing over a million dollar Stradivarius to a gorilla.
I have always stood in awe of the camera. I recognize it for the instrument it is, part Stradivarius, part scalpel.
I myself have always stood in the awe of the camera. I recognize it for the instrument it is, part Stradivarius, part scalpel.
Stradivarius, in particular, was the most amazing craftsman and one of the great artists and scientists that ever lived because he figured out something with the sound and the science of acoustics that we still don't understand it completely.
'Tis God gives skill, but not without men's hand: He could not make Antonio Stradivarius's violins without Antonio.
Most people traffic in abstractions and generalizations because they are grossly incompetent at culturing their intuition or powers of evidency, refining it to grasp the Thisness (Haecceitas) of what is before them. Thinking is like a Stradivarius that has more potential variations in how it is played than any human can finitely perform or capture.
Antonio Stradivari of Cremona, Italy, made about 1,200 violins, half of which still survive. After his death in 1737, factories churned out hundreds of thousands of copies. And every day, people bring violins with Stradivarius labels to appraisers, thinking they have bought the genuine article for a song.
Nobody the dead man & Nobody the living Nobody is giving in & Nobody is giving Nobody hears me but just Nobody cares Nobody fears me but Nobody just stares Nobody belongs to me & Nobody remains No Nobody knows nothing All that remains are remains
In the late 1600s the finest instruments originated from three rural families whose workshops were side by side in the Italian village of Cremona. First were the Amatis, and outside their shop hung a sign: "The best violins in all Italy." Not to be outdone, their next-door neighbors, the family Guarnerius, hung a bolder sign proclaiming: "The Best Violins In All The World!" At the end of the street was the workshop of Anton Stradivarius, and on its front door was a simple notice which read: "The best violins on the block."
... The Anarchists' [national] anthem is an international anthem that consists of 365 raspberries blown in very quick succession to the tune of Camptown Races. Nobody has to stand up for it, nobody has to listen to it, and, even better, nobody has to play it.
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