“With all awards and accolades at the international level and his outstanding contribution to classical music, his appeal was not restricted to purists or the elite connoisseur. He endeared himself to the public at large by his tasteful rendering of light music and film songs.”

Garimella Subramaniam in: A musical colossus http://hindu.com/2004/07/06/stories/2004070603272000.htm, The Hindu, 6 July 2004.

Rajan Zed in “Hollywood calling Rehman”.

“The Taste of the Age”, p. 12
A Sad Heart at the Supermarket: Essays & Fables (1962)

St. XLII
Adonais (1821)

The Elegant Universe : Superstrings, Hidden Dimensions, and the Quest for the Ultimate Theory (1999), p. 271
Context: Physicists are more like avant-garde composers, willing to bend traditional rules and brush the edge of acceptability in the search for solutions. Mathematicians are more like classical composers, typically working within a much tighter framework, reluctant to go to the next step until all previous ones have been established with due rigor. Each approach has its advantages as well as drawbacks; each provides a unique outlet for creative discovery. Like modern and classical music, it’s not that one approach is right and the other wrong – the methods one chooses to use are largely a matter of taste and training.

As quoted in A Dictionary of Thoughts: Being a Cyclopedia of Laconic Quotations from the Best Authors of the World, both Ancient and Modern (1908) by Tyron Edwards, p. 592

Mozart brauchte kein Programm für seine Musik. Er musizierte und sang mit der göttlichen Leichtigkeit eines Kindes.
Michael: a German fate in diary notes (1926)

Source: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 6. German and Western Romanticism

Sacco e Vanzetti (1971)