A Quote by Sun Ra
Bach and Beethoven, all of them, they had to write something to please the upper structure, those with money and power.
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I cannot listen to Beethoven or Mahler or Chopin or Bach when I write because those composers require you stop what you are doing and listen.
Composers most identified with the chamber music form are Corelli, Vivaldi, Haydn, Mozart, Beethoven, Schubert and, of course, Bach. Of course, Bach. If there is any one composer who gives us reason and emotion, it is Bach.
Beethoven was ahead of the times, Bach behind them.
Beethoven for listening; Liszt, Chopin, and Beethoven for playing as well as Bach and Prokofiev and so on. If I kept going, this list would spiral. It's as wide as literature; in fact, it is probably wider.
There are, first of all, two kinds of authors: those who write for the subject's sake, and those who write for writing's sake. The first kind have had thoughts or experiences which seem to
them worth communicating, while the second kind need money and consequently write for money.
I used to get letters from guys in prison. Anymore now I don't even open them. They'd ask me to please sign a couple of cards for their children. Then I see them on eBay two weeks later. Or the people that write and say, "You is one of my favorite cartoonists. I would like a drawing, please." I guess they encourage inmates to write letters to celebrities. It's like a way to make money by selling autographs or something. Give me a break.
Bernard Herrmann used to write all his scores by himself. So did Bach, Beethoven and Stravinsky. I don't understand why this happens in the movie industry.
Bernard Herrmann used to write all his scores by himself. So did Bach, Beethoven and Stravinsky. I dont understand why this happens in the movie industry.
I'd love to have William Faulkner, Beethoven and Bach over. I want to find out what makes those guys tick!
Id love to have William Faulkner, Beethoven and Bach over. I want to find out what makes those guys tick!
Money is what fueled the industrial society. But in the informational society, the fuel, the power, is knowledge. One has now come to see a new class structure divided by those who have information and those who must function out of ignorance. This new class has its power not from money, not from land, but from knowledge.
When we come to understand architecture as the essential nature of all harmonious structure we will see that it is the architecture of music that inspired Bach and Beethoven, the architecture of painting that is inspiring Picasso as it inspired Velasquez, that it is the architecture of life itself that is the inspiration of the great poets and philosophers.
My mind and fingers have worked like the damned. Homer, the Bible, Plato, Locke, Lamartine, Chateaubriand, Beethoven, Bach, Hummel, Mozart, Weber are all around me. I study them. I devour them with fury.
In my younger days, I used to visit record shops and covet boxed sets of Beethoven symphonies, Wagner operas, Bach cantatas, Mozart piano concertos. Only rarely was I able to find the money for such luxuries.
When you hear Bach or Mozart, you hear perfection. Remember that Bach, Mozart and Beethoven were great improvisers. I can hear that in their music.
During a rehearsal of Beethoven's Ninth Symphony the members of the orchestra were so overwhelmingly moved by the conducting of Arturo Toscanini that they rose as one man and applauded him. When the spontaneous cheering has subsided, Toscanini turned to his men, tears glistening in his eyes. "Please . . . please! Don't do this! You see, gentlemen, it isn't me you should applaud. It's Beethoven!"
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