American - Composer | December 2, 1892 - February 24, 2002
In writing music, the structure of each piece is a very important factor.
Leo Ornstein
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Besides merely some pleasure that we get out of the combinations of pitches together and lines, I think that there is some satisfaction that we get in the fact of having this diffuse thing organized very concretely and put onto a frame and have it actually decided.
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I distrust anything that you don't hear.
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Because essentially Schoenberg was an extremely gifted man. And in spite of many of his theories and so on, when he really began to write music, he still was guided very much by his internal hearing, by what we call your internal ear.
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We can use techniques in modifying things, in controlling things, but the first impulse has to be something that you simply cannot make just out of technique, or else it becomes perfectly evident that it is nothing but technique that you're exercising.
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The difference between the student and the born composer is he really hears the thing, and they have to stage it and manipulate it by technical equipment.
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By the way, the point between rationality and what we would call the irrational is a very difficult point to establish. There's no specific line, as you know.
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I'm really interested in writing a piece of music that will move you, that will really move you. That is really the only reason that I'm writing music.
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Hopefully, I have a certain amount of what you call musical talent.
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No, I think that a person writes a poem because they have an inner urge of something that they want to express, and I think it's that inner urge that you want to express when you write a piece of music.
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Well, no. I believe that it's not at all impossible that some of the performances that I've heard so far by some pianists may be superior to my own playing because those are two totally different acts altogether.
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It doesn't necessarily mean at all that the composer plays his own works best.
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