“When an orchestra of the Journeyers first publicly performed a suite from the time before Handel completely without crescendi and diminuendi, with the naïveté and chasteness of another age and world, some among the audience are said to have been totally uncomprehending, but others listened with fresh attention and had the impression that they were hearing music for the first time in their lives. In the League's concert hall between Bremgarten and Morbio, one member built a Bach organ as perfectly as Johann Sebastian Bach would have had it built had he had the means and opportunity.”

— Hermann Hesse , book The Glass Bead Game

The Glass Bead Game (1943)

Adopted from Wikiquote. Last update June 3, 2021. History

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Hermann Hesse 168

German writer 1877–1962

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“I come to a performance of music that I know very well as if I were performing it for the first time. Every day is a new day, a new experience. This is the way I approach a masterpiece. A masterpiece can never age - it's only the people who perform it or listen to it who become insensitive to it. If you come with a fresh feeling toward a masterpiece, it will always feel fresh and give you the benefit of its genius.”

Lorin Maazel (1930–2014) French-American conductor

As quoted in Successories.com http://www.successories.com/iquote/author/14767/lorin-maazel-quotes/1

“To approach Bach, one has to realize that 100 years after Bach’s death, Bach and his music totally had been forgotten. Even while he was still alive, Bach himself believed in the polyphonic power and the resulting symmetric architectures of well-proportioned music. But this had been an artificial truth - even for him. Other composers, including his sons, already composed in another style, where they found other ideals and brought them to new solutions. The spirit of the time already had changed while Bach was still alive. A hundred years later, it was Mendelssohn who about 1850 discovered Bach anew with the performance of the St. Matthew Passion. Now a new renaissance began, and the world learned to know the greatness of Bach. To become acquainted with Bach, many transcriptions were done. But the endeavors in rediscovering Bach had been - stylistically - in a wrong direction. Among these were the orchestral transcriptions of Leopold Stokowski, and the organ interpretations of the multitalented Albert Schweitzer, who, one has to confess, had a decisive effect on the rediscovery of Bach. All performances had gone in the wrong direction: much too romantic, with a false knowledge of historic style, the wrong sound, the wrong rubato, and so on. The necessity of artists like Rosalyn Tureck and Glenn Gould - again 100 years later - has been understandable: The radicalism of Glenn Gould pointed out the real clarity and the internal explosions of the power-filled polyphony in the best way. This extreme style, called by many of his critics refrigerator interpretations, however really had been necessary to demonstrate the right strength to bring out the architecture in the right manner, which had been lost so much before. I’m convinced that the style Glenn Gould played has been the right answer. But there has been another giant: it was no less than Helmut Walcha who, also beginning in the 1950, started his legendary interpretations for the DG-Archive productions of the complete organ-work cycle on historic organs (Silbermann, Arp Schnitger). Also very classical in strength of speed and architectural proportions, he pointed out the polyphonic structures in an enlightened but moreover especially humanistic way, in a much more smooth and elegant way than Glenn Gould on the piano. Some years later it was Virgil Fox who acquainted the U. S. with tours of the complete Bach cycle, which certainly was effective in its own way, but much more modern than Walcha. The ranges of Bach interpretations had become wide, and there were the defenders of the historical style and those of the much more modern romantic style. Also the performances of the orchestral and cantata Bach had become extreme: on one side, for example, Karl Richter, who used a big and rich-toned orchestra; on the other side Helmut Rilling, whose Bach was much more historically oriented.”

Burkard Schliessmann classical pianist

Talkings on Bach

“More and more film scores are being recorded the way television scores are recorded. The performers are not shown any footage. I personally don't like working that way because if you do not allow the members of the orchestra to see footage on a big screen, they will tend to perform as if they are in a concert hall. They will try not to stand out. They will try to perform as members of an orchestra. What is needed when scoring a movie such as GODZILLA VS. MECHAGODZILLA is playing that is much more aggressive. No matter how much you explain the character of Godzilla to the performers and urge them to play aggressively, they still will play as if they are in a concert hall. However, if you show the performers footage of Godzilla, their playing will dramatically change. That is why I insisted on being allowed to show footage to the performers before I agreed to score GODZILLA VS. GHIDRAH.”

Akira Ifukube (1914–2006) Japanese composer

As quoted by David Milner, "Akira Ifukube Interview II" http://www.davmil.org/www.kaijuconversations.com/ifukub2.htm, Kaiju Conversations (December 1993)

“and some others that I have seen, were perhaps among the first. There is no third rising. Time sweeps all away with it so fast at this epoch. The Scottish Church has been short-lived, and was late in reaching thither.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1880s, Reminiscences (1881)

“A 'socialist' country like Sweden has a highly articulated welfare state; Denmark and New Zealand (which are not highly industrialized) were among the first countries with a public system of old-age pensions; and Saskatchewan was the first Canadian province to have publicly organized health insurance.”

Nicholas Barr (1943) British economist

Source: Economics Of The Welfare State (Fourth Edition), Chapter 2, The Historical Background, p. 39

“She had never thought about her name much before, but when he said it, it was as if she were hearing it for the first time - the hard T, the caress of the double S, the way it seemed to end on a breath.”

Cassandra Clare book Clockwork Angel

Source: Clockwork Angel

“Within one hour of touching the brush to canvas for the first time, my students have a total, complete painting.”

Bob Ross (1942–1995) American painter, art instructor, and television host

Alessandra Stanley (December 22, 1991) "Television: Bob Ross, the Frugal Gourmet of Painting", The New York Times, Section 2; Page 33; Column 1; Arts & Leisure Desk.

“Once upon a time these two men had been in the same situation; now the difference between them was like the difference between a wish and its fulfillment. The one was what the other had dreamed of, and therefore they did not know one another anymore. He who has wishes yearns for a friend; but when the wishes have been fulfilled, the friends are the first thing we forget.”

Halldór Laxness (1902–1998) Icelandic author

Heimsljós (World Light) (1940), Book Four: The Beauty of the Heavens

“On live performance: "Yes. l’d really like to do some concerts of completely improvised music, but one of the reasons for doing a concert is to experience the enjoyment of the people there, so you have to include excerpts of music from previous albums because they want to hear something they already know and like. There’s nothing wrong with limiting your spontaneous playing to just improvising around old themes, but what is wrong is playing a concert solely to promote a certain record. I’ve never done a concert tour just to promote Heaven and Hell or Chariots or anything like that. That sort of thing seems pointless to me."”

Vangelis (1943) Greek composer of electronic, progressive, ambient, jazz, pop rock, and orchestral music

http://www.nemostudios.co.uk/vangelis/interviews/covermag/interviews.htm
Soil Festivities Vangelis Speaks
Dan Goldstein
November 1984
Electronics & Music Maker
1984

“Already at the age of 21 I played the complete organ works of Bach - and this by memory. As a child and youngster I had been taught by one of the last master-students of the legendary Helmut Walcha, and I completely had been affected by this style of insight into Bach and the internal structures. This method of regarding the independent coherence of all the voices gave me a special comprehension of Bach and his philosophy. Lastly one can say that I have been growing up with Bach, even to this day. If you understand the free organ works (preludes, toccatas, fugues), the chorales, and especially the trio sonatas, you have an insight into Bach that others don’t have. Especially the soloistic and independent leadings of the three voices of the trio sonatas is artistically the major aim of an organist; and already the Orgelbüchlein, the part 5 of the Peters Edition, shows Bach in all his structural and emotional effects. Albert Schweitzer described the Orgelbüchlein as something where the tonal speech of Bach is unbeatable. The comprehension of the organ-Bach is an understanding of the counterpoint and the polyphonic structures, and the coherence of Bach himself.”

Burkard Schliessmann classical pianist

Talkings on Bach

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Hermann Hesse 168

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