“The Goldberg Variations are, as explained in my booklet-text, in short, music that observes neither end nor beginning, music with neither real climax nor real resolution, music that, like Baudelaire’s lovers, “rests lightly on the wings of the unchecked wind.” Gould is referring here to the circular design of the work, a circularity whose development is polarized, inspired, and fed by more and more new energy fields. The result is a universe that in its significance resembles the alpha and omega of music in general, music that evolves out of nothing and disappears back into nothing as if in a state in which time stands still.”

— Burkard Schliessmann

Talkings on Bach

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Burkard Schliessmann 33

classical pianist

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As quoted in The Jewish Encyclopedia (12 vols. 1901-1906) http://www.jewishencyclopedia.com/view.jsp?artid=905&letter=M
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Context: I have composed this work neither for the common people, nor for beginners, nor for those who occupy themselves only with the Law as it is handed down without concerning themselves with its principles. The design of this work is rather to promote the true understanding of the real spirit of the Law, to guide those religious persons who, adhering to the Torah, have studied philosophy and are embarrassed by the contradictions between the teachings of philosophy and the literal sense of the Torah.

“The extraordinary stylistic changes of late eighteenth-century music may have provided much of the inspiration for the literature of the turn of the century, but the literary forms that resulted were deeply eccentric. It was these works—paradoxical, anticlassical, often with startlingly unbalanced proportions—which in turn influenced the music of the generation of composers that followed. The most clearly affected by literature and art were Schumann, Berlioz, and Liszt, but neither Mendelssohn nor Chopin remained untouched by literary developments, like the revival of Celtic and medieval poetry, as the overtures of Mendelssohn and the Ballades of Chopin explicitly demonstrate.”

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(...) De nouvelles connaissances conduisent à reconnaître dans la théorie de l'évolution plus qu'une hypothèse. Il est en effet remarquable que cette théorie se soit progressivement imposée à l'esprit des chercheurs, à la suite d'une série de découvertes faites dans diverses disciplines du savoir. La convergence, nullement recherchée ou provoquée, des résultats de travaux menés indépendamment les uns des autres, constitue par elle même un argument significatif en faveur de cette théorie.
early news reports mistranslated the French phrase plus qu'une hypothèse as "more than one hypothesis". http://www.cartage.org.lb/en/themes/sciences/LifeScience/PhysicalAnthropology/EvolutionFact/Evolution/Evolution.htm
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Source: Libreria Editrice Vaticana http://www.vatican.va/holy_father/john_paul_ii/messages/pont_messages/1996/documents/hf_jp-ii_mes_19961022_evoluzione_fr.html (French)

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The Book of Boz http://www.spiritofboz.org/en/spirit-of-boz/the-book-of-boz/
The Spirit of Boz

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Source: 1960s, "Specific Objects," 1965, p. 74; Lead paragraph; partly cited in: Diane Waldman. Carl Andre https://archive.org/stream/carlandre00wald#page/6/mode/1up. Published 1970 by Solomon R. Guggenheim Museum in New York. p. 6
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Source: Aphorisms and Reflections (1901), p. 21

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