A Quote by Twyla Tharp
Schubert had arguably the same melodic gift as Mozart, but even less support. He didn't have the early exposure, never got to travel anywhere, and yet generated and amassed a body of work that grew and developed and is very profound.
Related Quotes
Well, Mozart is extraordinary not only in that he became virtuoso along the lines of his father, but that he had that compositional gift, that melodic gift. By the time he was four, he was doing piano concertos with harmony in the background.
My grandmother was a classical pianist, so I grew up with Schubert, Mozart, Beethoven. I studied piano as a kid. My musical background and upbringing was very much a mix.
Delsarte tells me that Mozart stole outrageously from Galuppi, in the same way, I suppose, that Molière stole from anybody anywhere, if he found something work taking. I said that what was Mozart had not been stolen from Galuppi, or from anyone else for that matter.
The most perfect melodic shapes are found in Mozart; he has the lightness of touch which is the true objective ... Listen to the remarkable expansion of a Mozart melody, to Cherubino's 'Voi che sapete', for instance. You think it is coming to an end, but it goes farther, even farther.
I do this system called TRX. It was developed by a Navy SEAL and is basically a simple cord that you can wrap around something anywhere, anytime, and you use your body weight as resistance. We installed one in our home gym, but you can also attach it to a tree. It's very easy to travel with.
It's Good...But
No more rush hour driving
To start and end your day
No more early alarm calls
But..much less pay
No more back stabbing
Or rising to the bait
No more phone calls from the boss
Asking you to work late
But...having to get by
On half your hourly rate
Now you have all day
To sit or doze to stay to go
Anywhere you like...
..cheaply
You've got less dough
Travel around the world
Do anything you've desired
But do it economically
Now that you're retired
I had an older brother who was very interested in literature, so I had an early exposure to literature, and and theater. My father sometimes would work in musical comedies.
As I approach the end of my life, I have even less and less interest in examining what have got to be very superficial evaluations or opinions about the significance of one's life or one's work. I was never given to it when I was healthy, and I am less given to it now.
I was taught from a very early age that I had to work twice as hard to get half as much. That was the world I grew up in - a very strong work ethic.
My music wasn't written by Mozart, Beethoven, Bach or Schubert. It's written by God and me. They go "a one and a two and up." We start on the downbeat. Bam! And that's where we got them.
Seattle's support system got me through those early, difficult years. It was a very funky, very friendly, very relaxed place that had it all for a writer.
I got married very early, and in no time at all, we had three children. And it seemed to me I had an obligation to support them.
My technique is laughable at times. I have developed a style of my own, I suppose, which creeps around. I don't have to have too much technique for it. I've developed the parts of my technique that are useful to me. I'll never be a very fast guitar player. I don't really know what to say about my style. There's always a melodic intent in there.
When people listen to my music, I hope that they will notice that if you take a piece by a composer like Schubert, the major and the minor triad is an extermely important thing not merely as harmony, but in creating melodic lines. Schubert is always walking up and down with arpeggios on C, E, G and so forth. I am not doing anything different really, except using a different system of harmony.
An ordinary man will work every day for a year at shoveling dirt to support his body, or a family of bodies; but he is an extraordinary man who will work a whole day in a year for the support of his soul. Even the priests, men of God, so called, for the most part confess that they work for the support of the body.
When I hear music I want to engage in it. Even if I engage in it very quickly and turn it off in my mind. If I'm in an elevator, clearly I don't want to be dealing with that, even if it's Mozart. In fact, especially if it's Mozart. I don't think Mozart belongs in an elevator.
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