A Quote by Robert Gottlieb
You may feel that Peter Martins' 'Beauty' is too compressed and inexpressive, but it's loyal to the text.
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If, on thinking this, I look up to see if reality can quench my thirst, I see inexpressive facades, inexpressive faces, inexpressive gestures. Stones, bodies, ideas - all dead. All movements are one great standstill. Nothing means anything to me, not because it's unfamiliar but because I don't know what it is. The world has slipped away. And in the bottom of my soul - as the only reality of this moment - there's an intense and invisible grief, a sadness like the sound of someone crying in a dark room.
City Ballet has to develop choreographers of stature and a new approach to coaching before everything we value about it fades away and, in the great tradition of the Cheshire Cat, there's nothing left but Peter Martins' smile.
For the records I've work on over the last 10 years, I get sent the really compressed version and the non-compressed version, and oftentimes you end up going with the more compressed one because it's what people's ears are attuned to. I think the bigger problem is saturation and people being desensitized.
The cows in Stella Gibbons's immortal 'Cold Comfort Farm' are named Graceless, Aimless, Feckless and Pointless, and that more or less is the verdict on 'Ocean's Kingdom,' the wildly hyped and wildly uninteresting collaboration between Peter Martins and Paul McCartney.
With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
Jesus was loyal to his apostles, with full knowledge of their cowardice. He was loyal to the poor, accepting the criticism of the Pharisees, so the destitute would never feel deserted. He was loyal to his father, accomplishing his will even unto death.
I'm a huge Peter Mayer fan, but only when I don't feel like killing him for being so good. I love Peter's work, though it irritates me that he plays so much better than I do. If I rocked half as hard as Peter does, I'd own the world by now.
I think re-engineering or restructuring or downsizing or rightsizing or whatever you want to call it, it's basically firing, has gone way too far. Employees, as I've talked to them across the country, feel that they are not respected, they are not valued, they are worried about their jobs. They simply feel that the company is no longer loyal to them. Why should they be loyal to the company, they ask me. Why should I go the extra mile? Why should I care?
I think whether you are a judge on my court or whether you are a judge on a court of appeals or any court, and lawyers too - and if you're interested in law yourself, you'll be in the same situation - you have a text that isn't clear. If the text is clear, you follow the text. If the text isn't clear, you have to work out what it means. And that requires context.
Sometimes I get this gut feeling about people - maybe I sense a hidden agenda or that they care for the money more than the message. I wish that I'd listen to that feeling instead of waiting for the truth to rear its ugly head. I'm a smart girl. I'm loyal. But sometimes I'm too loyal. I'm not loyal enough to myself.
Though written constitutions may be violated in moments of passion or delusion, yet they furnish a text to which those who are watchful may again rally and recall the people; they fix too for the people the principles of their political creed.
As Cole left school that day with Peter, they stopped beside the bulldog statue. "You two are wrecking our school!" shouted one of the jocks walking by. "You can't wreck something that's already wrecked!" Peter shouted back angrily. "Hey, Peter, we're Spirit Bears," Cole reminded his friend. "Spirit Bears are strong, gentle, and kind." Peter thought a moment. "You got mauled, so that proves they can get ticked off too.
Peter (Parker) is not that evolved. Peter wants to tell the world he's a good guy: ' Like me, I'm nice.' He's a 19 year-old kid. He's a kid struggling with being misunderstood. We've all been misunderstood. That's universal too. I like being Peter.
Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.
A chorus of tough southern belles whispered, You need a loyal husband around here. Loyal to you, loyal to your family, loyal to your land. I added, Good in bed, smart, and romantic. Politically, socially, and religiously compatible. And he had to want children.
The composer does not want the self-sufficiency of a richly complex text: he or she wants to feel that the text is something in need of musical setting.
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