Quotes about composer
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“In my poetry, I am just as influenced by musicians or composers. As I am by people who create with words.”

Jan Zwicky (1955) Canadian philosopher

Griffin Prize Questionnaire June 2012
Griffin Poetry Prize Questionnaire

“Defenceless under the night
Our world in stupor lies;
Yet, dotted everywhere,
Ironic points of light
Flash out wherever the Just
Exchange their messages:
May I, composed like them
Of Eros and of dust,
Beleaguered by the same
Negation and despair,
Show an affirming flame.”

W. H. Auden September 1, 1939

Source: September 1, 1939 (1939), Lines 89–99

World, Light, Despair, Night

“True knowledge, in this perspective, is always indirect knowledge; it is composed of reported statements, that are incorporated into metanarratives of a subject that source their legitimacy.”

Jean-François Lyotard (1924–1998) French philosopher

Source: The Postmodern Condition: A Report on Knowledge (1977), p.35

Knowledge

“A function of a variable quantity is an analytic expression composed in any way whatsoever of the variable quantity and numbers or constant quantities.”

Leonhard Euler (1707–1783) Swiss mathematician

§4
Introduction to the Analysis of the Infinite (1748)

Way

“What he wanted was to make his proclamation as effective as possible in the event of such a peace. He said, in a regretful tone, 'The slaves are not coming so rapidly and so numerously to us as I had hoped'. I replied that the slaveholders knew how to keep such things from their slaves, and probably very few knew of his proclamation. 'Well', he said, 'I want you to set about devising some means of making them acquainted with it, and for bringing them into our lines'. He spoke with great earnestness and much solicitude, and seemed troubled by the attitude of Mr. Greeley, and the growing impatience there was being manifested through the North at the war. He said he was being accused of protracting the war beyond its legitimate object, and of failing to make peace when he might have done so to advantage. He was afraid of what might come of all these complaints, but was persuaded that no solid and lasting peace could come short of absolute submission on the part of the rebels, and he was not for giving them rest by futile conferences at Niagara Falls, or elsewhere, with unauthorized persons. He saw the danger of premature peace, and, like a thoughtful and sagacious man as he was, he wished to provide means of rendering such consummation as harmless as possible. I was the more impressed by this benevolent consideration because he before said, in answer to the peace clamor, that his object was to save the Union, and to do so with or without slavery. What he said on this day showed a deeper moral conviction against slavery than I had ever seen before in anything spoken or written by him. I listened with the deepest interest and profoundest satisfaction, and, at his suggestion, agreed to undertake the organizing a band of scouts, composed of colored men, whose business should be somewhat after the original plan of John Brown, to go into the rebel States, beyond the lines of our armies, and carry the news of emancipation, and urge the slaves to come within our boundaries.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

Source: 1880s, Life and Times of Frederick Douglass (1881), pp. 434–435.

Men, War, Peace, Hope

“Founders fit the definition of a composer: they see something no one else does. And to help them create it from nothing, they surround themselves with world-class performers.”

Steve Blank (1953) American businessman

Forbes "Entrepreneurship is an Art Not a Job" http://www.forbes.com/sites/steveblank/2013/03/29/entrepreneurship-is-an-art-not-a-job/#754e53231d5b. March 29, 2013.

World, Help

“Let’s take a look at the 25th variation of the second part. Here Bach meets us in his highest and deepest personal and human form: it’s like in the Art of Fugue in the unfinished fugue No. 20, where Bach confronts us with his personal signature. It was he himself, who, after he had been occupied during his whole life with symbols, with numbers, with the mastering of structural and formal problems and renewals, now he saw himself confronted with a personal view into mirror. He now shows us a human being in his whole conception of life. The composer of “Come, oh sweet death” now is confessing, “Oh sweet death, how bitter is your prickle.””

Burkard Schliessmann classical pianist

Talkings on Bach

Life, Death, Art, Problem

“I am accountable to the composer, but I am also there to communicate something to the listener. I am not delivering a soliloquy, but am somewhere in the middle.”

Alfred Brendel (1931) Austrian pianist, poet, and author

As cited in: Nicky Losseff, ‎Jennifer Ruth Doctor (2007), Silence, Music, Silent Music, p. 170

Communication

“Framed with regard to the established religion, this philosophy runs essentially parallel thereto; and so, being perhaps intricately composed, curiously trimmed, and thus rendered difficult to understand, it is always at bottom and in the main nothing but a paraphrase and apology of the established religion. Accordingly, for those teaching under these restrictions, there is nothing left but to look for new turns of phrase and forms of speech by which they arrange the contents of the established religion. Distinguished in abstract expressions and thereby rendered dry and dull, they then go by the name of philosophy.”

Arthur Schopenhauer book Parerga and Paralipomena

In Folge hievon wird, so lange die Kirche besteht, auf den Universitäten stets nur eine solche Philosophie gelehrt werden dürfen, welche, mit durchgängiger Rücksicht auf die Landesreligion abgefaßt, dieser im Wesentlichen parallel läuft und daher stets,—allenfalls kraus figurirt, seltsam verbrämt und dadurch schwer verständlich gemacht,—doch im Grunde und in der Hauptsache nichts Anderes, als eine Paraphrase und Apologie der Landesreligion ist. Den unter diesen Beschränkungen Lehrenden bleibt sonach nichts Anderes übrig, als nach neuen Wendungen und Formen zu suchen, unter welchen sie den in abstrakte Ausdrücke verkleideten und dadurch fade gemachten Inhalt der Landesreligion aufstellen, der alsdann Philosophie heißt.
Sämtliche Werke, Bd. 5, pp. 152–153, E. Payne, trans. (1974) Vol. 1, p. 140
Parerga and Paralipomena (1851), On Philosophy in the Universities

Religion, Understanding

“One is also reminded of how in art the tortoise so often overtakes the hare. Not all, but too many of the best writers, composers, and artists of our time begin to be acclaimed only when they no longer have anything to say and take to performing instead of stating. This is how they first become accessible to broad taste, which is lazy taste, and by the same token to the processes of publicity and consecration. As long as they were trammeled up in the urgency of getting things said they were too difficult, too "controversial."”

Clement Greenberg (1909–1994) American writer and artist

On Hans Hofmann, in "Hofmann", in Georges (Fall 1961)
1960s

Art, Time

“In composing, as a general rule, run your pen through every other word you have written; you have no idea what vigour it will give your style.”

Sydney Smith (1771–1845) English writer and clergyman

Vol. I, ch. 11 http://books.google.com/books?id=R18JAAAAQAAJ&q=%22In+composing+as+a+general+rule+run+your+pen+through+every+other+word+you+have+written+you+have+no+idea+what+vigour+it+will+give+your+style%22&pg=PA382#v=onepage Lady Holland's Memoir (1855)

Idea

“Music is of two kinds: one petty, poor, second-rate, never varying, its base the hundred or so phrasings which all musicians understand, a babbling which is more or less pleasant, the life that most composers live.”

Honoré de Balzac (1799–1850) French writer

Il y a deux musiques: une petite, mesquine, de second ordre, partout semblable à elle-même, qui repose sur une centaine de phrases que chaque musicien s'approprie, et qui constitue un bavardage plus ou moins agréable avec lequel vivent la plupart des compositeurs. Massimilla Doni http://fr.wikisource.org/wiki/Massimilla_Doni (1839), translated by Clara Bell and James Waring

Life, Music, Understanding

“It may be that to eat and be eaten are the same thing in the end. My wisdom tells me that this is probably so. We are all made of the same stuff, remember, we of the Jungle, you of the City. The same substance composes us — the tree overhead, the stone beneath us, the bird, the beast, the star — we are all one, all moving to the same end. Remember that when you no longer remember me, my child.”

P. L. Travers (1899–1996) Australian-British novelist, actress and journalist

Hamadryad, the King Cobra in Ch. 10 "Full-Moon"
Mary Poppins (1934)

Wisdom, Star, Bird, Tree

“What excites pleasure in me is the meeting and conversing with old friends. But it is very galling when my friends do not visit me because there is a biting wind, or the roads are muddy through the rain, or perhaps because they are sick. Then I feel isolated. Although I myself do not drink, yet I provide spirits for my friends, […]. In front of my house runs a great river, and there I can sit with my friends in the shadow of the lovely trees. […] When they come they drink and chat, just as they please, but our pleasure is in the conversation and not in the liquor. We do not discuss politics because we are so isolated here that our news is simply composed of rumors, and it would only be a waste of time to talk with untrustworthy information. We also never talk about other people's faults, because in this world nobody is wrong, and we should beware of backbiting. We do not wish to injure anyone, and therefore our conversation is of no consequence to anyone. We discuss human nature about which people know so little because they are too busy to study it.”

Shi Nai'an (1296–1372) Chinese writer

Variant translation by Lin Yutang: "When all my friends come together to my house, there are sixteen persons in all, but it is seldom that they all come. But except for rainy or stormy days, it is also seldom that none of them comes. Most of the days, we have six or seven persons in the house, and when they come, they do not immediately begin to think; they would take a sip when they feel like it and stop when they feel like it, for they regard the pleasure as consisting in the conversation, and not in the wine. We do not talk about court politics, not only because it lies outside our proper occupation, but also because at such a distance most of the news is based upon hearsay; hearsay news is mere rumour, and to discuss rumours would be a waste of our saliva. We also do not talk about people's faults, for people have no faults, and we should not malign them. We do not say things to shock people and no one is shocked; on the other hand, we do wish people to understand what we say, but people still don't understand what we say. For such things as we talk about lie in the depths of the human heart, and the people of the world are too busy to hear them." (The Importance of Living, 1937; pp. 218–219)
Preface to Water Margin

Love, People, Pleasure, World

“What happens in the case of a constructive psychic energy when it [the inner self] is purposely denied aggressive outlets? It finds out... How strong and potent is the energy that is at its command?… It is quite necessary that all these questions be answered, for the inner self is composed of energy, and in other fields of activity thoughts and emotions are instantaneously translated, their results instantly seen. There is no saving time lag.”

Jane Roberts (1929–1984) American Writer

Session 280
The Early Sessions: Sessions 1-42, 1997, The Early Sessions: Book 6

Question, Strong, Time

“But there is a Pope in the breast of each of us whom is hard to silence. Long ago a lady said to me, when I asked her the composers she liked: “Dvorak.” I said before I could stop myself: “Dvorak!” How many times, and with what shame, I’ve remembered it. And now I like Dvorak…”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“Speaking of Books”, p. 220
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Silence, Time

“It is the residue of animal and vegetable putrefaction, and is a black body; when dry it is pulverulent, and when wet has a soft, greasy feel… It is the produce of organic power—a compound of carbon, hydrogen, nitrogen, and oxygen, such as cannot be chemically composed.”

Albrecht Thaer (1752–1828) German agronomist and an avid supporter of the humus theory for plant nutrition

p. 336 http://books.google.com/books?id=zAhJAAAAMAAJ&pg=PA336; Cited in: Edmund Ruffin An Essay on Calcareous Manures, Volume 1. J.W. Randolph, 1852. p. 85. Ruffin summarizes: "Humus" is the term used by this author for the decomposed vegetable and other organic matter which is more or less mixed with all surface soil, and which gives to soil all its fertility, and furnishes all the food of plants. The Principles of Agriculture, 1844, Section III: Agronomy

Feeling, Animals

“By science I mean an assemblage of transcendental propositions discoverable by human reason, and reducible to first principles, axioms, or maxims, from which they may all be derived in a regular succession; and there are consequently as many sciences as there are general objects of our intellectual powers: when man first exerts those powers, his objects are himself and the rest of nature; himself he perceives to be composed of body and mind… and in the leisure… his intellect is directed to nature at large, to the substance of natural bodies, to their several properties, and to their quantity… and… arrives at the demonstration of a first intelligent cause; whence his collected wisdom, being arranged in the form of science, chiefly consists of physiology and medicine, metaphysicks and logick, ethicks and jurisprudence, natural philosophy and mathematicks; from which the religion of nature (since revealed religion must be referred to history, as alone affording evidence of it) has in all ages and in all nations been the sublime and consoling result.”

William Jones (1746–1794) Anglo-Welsh philologist and scholar of ancient India

p, 125
"On the Philosophy of the Asiatics" (1794)

Wisdom, Age, Religion, History

“Prokofiev had a lifelong love of the sonata form. Ever since learning the basic rules during his childhood years, he strove to master them; … In 1941, describing his Sonatinas op. 54 (1931), he remarked, “I liked the idea of writing a simple work in such a superior form as sonata.” One can learn a lot about the composer’s growth by tracing his progress from the early sonatas, which cautiously dare to bend the textbook rules, to the masterful treatment of the form in his late works.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Preface

Love, Idea, Learning, Childhood

“Those who look for contradictions will be amply satisfied. The profession of a performer is full of paradoxes, and he has to learn to live with them. He has to forget himself and control himself; he has to observe the composer's wishes to the letter and create the music on the spot; he has to be part of the music market and yet retain his integrity.”

Alfred Brendel (1931) Austrian pianist, poet, and author

Alfred Brendel (1976), as cited in: Benny Shanon (2013). The Representational and the Presentational. p. 380.

Music, Learning, Parting, Forgetting

“[T]he rules are different for you and always will be; that you must be composed at all times and never scrap in the muck laid down by your opponents because your moral purity is measured differently to theirs.”

Clementine Ford (writer) (1981) Australian feminist writer, broadcaster and public speaker

Clementine Ford: This is the personal price I pay for speaking out online http://www.smh.com.au/lifestyle/news-and-views/opinion/clementine-ford-this-is-the-personal-price-i-pay-for-speaking-out-online-20170713-gxaa6z.html, July 13 2017, in the Sydney Morning Herald 2017

Time

“It is difficult composing endings. Beethoven and Wagner could do it. Only great composers can do it. I can do it too.”

Richard Strauss (1864–1949) German composer and orchestra director

Other sources

“Listen what happened to me when I was in the fifth form (ca. 1904), in the drawing lesson. An old-timer in the front row, the one who pinched me the most often, suddenly showed me a sketch on tissue paper, copied from the magazine "Niva": The Smoker. In this pandemonium! Leave me alone. I don't remember very well but this drawing, done not by me but by that fathead, immediately threw me into a rage. It roused a hyena in me. I ran to the library, grabbed that big volume of "Niva" and began to copy the portrait of the composer Rubinstein, fascinated by his crow's-feet and his wrinkles, or by a Greek woman and other illustrations; maybe I improvised some too, I hung them all up in my bedroom..”

Marc Chagall (1887–1985) French artist and painter

Quote in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, pp. 24-25
1920's, My life (1922)

Rage, Drawing

“Its (the Left’s) intensity derives from the fact that it’s a family largely composed of, in a manner of speaking, orphans of bhadralok history (for we hardly hear of the mothers and fathers of party members), brought together not by accident but by idealism and its cousin, ideology. Bonds of orphanhood and kinship are particularly charged (as Kipling showed us in The Jungle Book) when they are self-created, and each party member is probably a bit of everything – mother, father, sibling, friend – to every other member.”

Amit Chaudhuri (1962) contemporary Indian-English novelist

Calcutta: Two Years in The City (2013)

Books, Family, History, Siblings

“The over-publicized bit about expression (or non-expression) was simply a way of saying that music is supra-personal and super-real and as such beyond verbal meanings and verbal descriptions. It was aimed against the notion that a piece of music is in reality a transcendental idea "expressed in terms of" music, with the reductio ad absurdum implication that exact sets of correlatives must exist between a composer's feelings and his notation. It was offhand and annoyingly incomplete, but even the stupider critics could have seen that it did not deny musical expressivity, but only the validity of a type of verbal statement about musical expressivity. I stand by the remark, incidentally, though today I would put it the other way around: music expresses itself.”

Igor Stravinsky (1882–1971) Russian composer, pianist and conductor

Igor Stravinsky and Robert Craft (1962). Expositions and Developments.
1960s

Stupidity, Music, Way, Feeling

“And neither ought we to be surprised by the affirmation that the consciousness of the Universe is composed and integrated by the consciousnesses of the beings which form the Universe, by the consciousnesses of all the beings that exist, and that nevertheless it remains a personal consciousness distinct from those which compose it. Only thus is it possible to understand how in God we live, move, and have our being.”

Miguel de Unamuno (1864–1936) 19th-20th century Spanish writer and philosopher

The Tragic Sense of Life (1913), VII : Love, Suffering, Pity

God, Understanding, Universe, Personality

“The human features and countenance, although composed of but some ten parts or little more, are so fashioned that among so many thousands of men there are no two in existence who cannot be distinguished from one another.”

Pliny the Elder book Natural History

Book VII, sec. 8.
Naturalis Historia

Men, Fashion, Parting

“Humans… entered the 'cognitive niche.' Remember the definition of intelligence from Chapter 2: using knowledge of how things work to attain goals in the face of obstacles. By learning which manipulations achieve which goals, humans have mastered the art of the surprise attack. They use novel, goal-oriented courses of action to overcome the Maginot Line defenses of other organisms, which can respond only over evolutionary time. The manipulations can be novel because human knowledge is not just couched in concrete instructions like 'how to catch a rabbit.' Humans analyze the world using intuitive theories of objects, forces, paths, places, manners, states, substances, hidden biochemical essences, and, for other animals and people, beliefs and desires…. People compose new knowledge and plans by mentally playing out combinatorial interactions among these laws in their mind's eye.”

Steven Pinker book How the Mind Works

Source: How the Mind Works (1997), p. 188

People, World, Law, Art

“Our knowledge is composed not of facts, but of the relations which facts and ideas bear to themselves and to each other; and real knowledge consists not in an acquaintance with facts, which only makes a pedant, but in the use of facts, which makes a philosopher.”

Henry Thomas Buckle (1821–1862) English historian

" The Influence Of Women On The Progress Of Knowledge http://www.public.coe.edu/~theller/soj/u-rel/buckle.html". Lecture given at the Royal Institution 19 March 1858. In: The Miscellaneous and Posthumous Works of Henry Thomas Buckle (1872)

Idea, Knowledge

“The greatest work of the composer is often sublimation, that is, the deflection of energies, thoughts, occurrences, psychological and physical reactions, into socially constructive or creative channels.”

Marion Bauer (1882–1955) American composer

Hisama, Ellie M. (2001). Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon, p.122. Cambridge University Press. ISBN 052164030X.

“Mendelssohn was the greatest child prodigy the history of Western music has ever known. Not even Mozart or Chopin before the age of nineteen could equal the mastery that Mendelssohn already possessed when he was only sixteen. Most astonishing is the nature of Mendelssohn's precocious talent: not only a gift for lyrical melodic lines and delicate, transparent textures, but, above all, a control of large-scale structure unsurpassed by any composer of his generation.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 10 : Mendelssohn and the Invention of Religious Kitsch

Age, Music, History, Nature

“Chopin absolutely was influenced by Bach. We know that before Chopin himself performed in concert, he didn’t play anything other than Bach. His own Preludes are a reference to the Well-Tempered Clavier of Bach, and all Chopin’s students had to play Bach. In whole, Chopin admired Bach most of all composers, and it was nothing less than the Well-Tempered Clavier itself that was his musical diary. I also have said that Chopin is the crowning and climax of piano-playing. It’s something so unique, all-affecting in emotionalism, musical architecture, and structure, that all past giants are present in it: Bach and Mozart. Chopin’s elegance is so singular, that again you need much experience to convey his music in the real and original style. The question of rubato is very sensitive: It’s nothing arbitrary, but much more something well calculated and well proportioned, something that is integrated in the classical strength of form, which is constructed on the profound knowledge of the polyphonic and contrapuntal structures of Bach and Mozart. Whether the Goldbergs may relate to this question? Absolutely! I again want to mention a certain and special term: jeu perlé.”

Burkard Schliessmann classical pianist

Without this you can’t play Chopin, you can’t play Mozart, and lastly absolutely not the Goldbergs.
Talkings on Bach

Music, Question, Knowledge, Past

“For with what eyes of the mind was your Plato able to see that workhouse of such stupendous toil, in which he makes the world to be modelled and built by God? What materials, what bars, what machines, what servants, were employed in so vast a work? How could the air, fire, water, and earth, pay obedience and submit to the will of the architect? From whence arose those five forms, of which the rest were composed, so aptly contributing to frame the mind and produce the senses? It is tedious to go through all, as they are of such a sort that they look more like things to be desired than to be discovered.”
Quibus enim oculis animi intueri potuit vester Plato fabricam illam tanti operis, qua construi a deo atque aedificari mundum facit; quae molitio, quae ferramenta, qui vectes, quae machinae, qui ministri tanti muneris fuerunt; quem ad modum autem oboedire et parere voluntati architecti aer, ignis, aqua, terra potuerunt; unde vero ortae illae quinque formae, ex quibus reliqua formantur, apte cadentes ad animum afficiendum pariendosque sensus? Longum est ad omnia, quae talia sunt, ut optata magis quam inventa videantur.

Marcus Tullius Cicero (-106–-43 BC) Roman philosopher and statesman

Book I, section 19
De Natura Deorum – On the Nature of the Gods (45 BC)

God, World, Sense, Water

Tom Robbins book Still Life with Woodpecker

Still Life with Woodpecker (1980)

Parting

“We thought: we're poor, we have nothing,
but when we started losing one after the other
so each day became
remembrance day,
we started composing poems
about God's great generosity
and — our former riches.”

Anna Akhmatova (1889–1966) Russian modernist poet

"We thought: we're poor"
We thought we were beggars, we thought we had nothing at all
But then when we started to lose one thing after another,
Each day became
A memorial day -
And then we made songs
Of great divine generosity
And of our former riches.
Translated by Ilya Shambat (2001)
White Flock (1917)

God

“Yasuji Okamura, commander of the Japanese forces in China, had this to say about the Chinese Nationalist Army: "The center of resistance was neither the four hundred million Chinese civilians, nor the two million-strong ragtag army composed of local troops. Instead, it was the Central Army, led by the young officers of the Whampoa Military Academy, with Chiang Kai-shek at its nucleus. In numerous major battles, the Central Army not only was the main force engaged in combat, but also oversaw the local troops who were increasingly losing the will to fight. The Central Army kept the local troops from wavering. As seen, training by Whampoa was thorough, and it was impossible to resolve the China Incident peacefully with the existence of such an army.”

Yasuji Okamura (1884–1966) Japanese general

Source:《大本营陆军部.上》519页
Translated from Chinese text: 侵华日军司令官冈村宁次在1939年对国军抗日的评论，他说："看来敌军抗日力量的中心不在于四亿中国民众，也不是以各类杂牌军混合而成的二百万军队，乃是以蒋介石为核心、以黄埔军校青年军官阶层为主体的中央军。在历次会战中，它不仅是主要的战斗原动力，同时还严厉监督着逐渐丧失战斗力意志而徘徊犹豫的地方杂牌军，使之不致离去而步调一致，因此不可忽视其威力。黄埔军校教育之彻底，由此可见......有此军队存在，要想和平解决事变，无异是缘木求鱼" （摘自《大本营陆军部.上》519页）。

Strong, Fight, Training

“I achieved more than I could dream of in chess and in chess composing.”

Yochanan Afek (1952) Israeli chess player, composer, trainer and arbiter

From an interview with Tibor Károlyi, Genius in the Background (2009), p. 59.

Dreams

“I am so confined, writing passes, etc., that it is impossible for me to attend to the duties of the day, which, in many instances, prejudices the service. Such a confined situation leaves one no opportunity of viewing things for themselves. It is recommended, by one of the greatest Generals of the age, not only to issue orders, but to see to the execution; for the army being composed of men of indolence, if the commander is not attentive to every individual in the different departments, the machine becomes dislocated, and the progress of business retarded.”

Nathanael Greene (1742–1786) American general in the American Revolutionary War

Letter to George Washington (July 1776)

Men, Age, Business

“But we're still left with structural or compositional elements. The problems aren't any different. I still have to compose a picture, and if you make an object [as Donald Judd does] you have to organize the structure. I don't think our work that radical in any sense because you don't find any really new compositional or structural element. I don't know if that exists. It's like the idea of the color you haven't seen before. Does something exist that's as radical as a diagonal that's not a diagonal? Or a straight line or a compositional element that you can't describe?”

Frank Stella (1936) American artist

quote from Stella, reacting in the artist-talk on Donald Judd who emphasis the 'whole' of an art work
Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 119

Color, Idea, Problem, Thinking

“We learn from Plutarch, that this was the theme of one of the hymns of Orpheus, so celebrated in the fabulous ages of Greece. It was brought by him from the banks of the Nile; and we even find in his verses, as in the Indian systems, a definite period assigned for the duration of each successive world. The returns of great catastrophes were determined by the period of the Annus Magnus, or great year, a cycle composed of the revolutions of the sun, moon, and planets, and terminating when these return together to the same sign whence they were supposed at some remote epoch to have set out. The duration of this great cycle was variously estimated. According to Orpheus, it was 120,000 years; according to others, 300,000 and by Cassander it was taken to be 300,000 years.”

Charles Lyell book Principles of Geology

Chpt.2, p. 10
Principles of Geology (1832), Vol. 1

Age, World, Learning, Success

“The composer does not want the self-sufficiency of a richly complex text: he or she wants to feel that the text is something in need of musical setting.”

James Fenton (1949) poet

Source: An Introduction to English Poetry (2002), Ch. 21: Song (p. 115)

Music, Feeling

“In the Chinese language, the word "crisis" is composed of two characters, one representing danger and the other, opportunity.”

John F. Kennedy (1917–1963) 35th president of the United States of America

Remarks at the United Negro College Fund, Indianapolis, Indiana (12 April 1959) http://www.jfklibrary.org/Research/Research-Aids/Ready-Reference/JFK-Quotations.aspx; Box 902, Senate Speech Files, Pre-Presidential Papers, John F. Kennedy Papers, John F. Kennedy Presidential Library; also in Remarks at Valley Forge Country Club, Pennsylvania (29 October 1960), Box 914, Senate Speech Files, Pre-Presidential Papers, John F. Kennedy Papers, John F. Kennedy Presidential Library Pre-1960

“An action which is suffered by, or required of, an object. Operations may be selectors, constructors, or iterators. An operation is contained in an object's interface and has its details described in a corresponding method. Operations may be composite, i. e., composed of other operations. However, encapsulation of composite operations within the interface to an object is not encouraged.”

Edward V. Berard

Source: Essays on object-oriented software engineering (1993), p. 336

Suffering

“You think me ambitious: ambition, alas! is composed of more rugged materials. If I were ambitious, I should not for so many years have been a prey to all the hell of conscientious scruples.”

Horace Walpole book The Castle of Otranto

Section 3
The Castle of Otranto (1764)

Hell, Thinking

“No nation can prosper unless the men and women of whom it is composed apply to their own behaviour the same high standards of social morality as they demand of the officers of their government; for it is your fathers, your sons and your brothers—in a word, it is yourselves—who are responsible for the country's administration.”

Muhammad Asad (1900–1992) Austro-Hungarian writer and academic

Source: This Law of Ours and Other Essays (1987), Chapter: Calling All Muslims, Radio Broadcast # 6, p 114

Women, Men, Country

“I am in no way facetious, nor disposed for the mirth and galliardize of company, yet in one dream I can compose a whole Comedy, behold the action, apprehend the jests, and laugh myself awake at the conceits thereof.”

Thomas Browne book Religio Medici

Section 11
Religio Medici (1643), Part II

Dreams, Way

“Tertiary syphilis, as my readers will not need reminding perhaps, comes, when it comes at all, about ten years after the initial infection. About two thirds of syphilitics miss it, especially if they are women or coloured. It is believed, though without solid evidence, that it attacks the sedentary more than the active. This means that writers and composers, granted that primary lesion, are prone to it.”

Anthony Burgess (1917–1993) English writer

Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

Women

“While still in Calcutta I made my first contact with another mighty scripture, the Granth Saheb of Sri Garibdas. This Jat saint of Haryana has been the patron saint of my family ever since an ancestor of ours, who was the saint's contemporary, became his votary in the first half of the 18th century. We revere him as the Satguru (true teacher) who was an avatara of the Highest Being. He was totally illiterate but composed and sang some 18000 verses of very sublime poetry which scales the highest spiritual heights. The story goes that my ancestor would not have his first morning sip of water unless he had paid homage to the saint who lived at a distance of 4 miles from our village.”

Garib Das (1717–1778) Hindu Yogi

Goel, S. R. (2007). How I became a Hindu.

Family, Teachers, Water

“An object which is used to create instances, i. e., a template, description, pattern, or "blueprint" of a category or collection of very similar items. Among other things, a class describes the interface the these items will present to the outside world, i. e., the available and appropriate methods, constants, and exceptions. A class represents an abstraction of the items. A class may itself be parameterized (i. e., it actually represents a family of very closely related classes), in which case we refer to it as a parameterized class. Class is a recursive concept. Specifically, we may define classes as being composed of other classes (i. e., heterogeneous composite classes and homogeneous composite classes), in terms of itself (a recursively defined class), as inheriting characteristics from one or more other classes (i. e., the superclasses of the class), and as providing characteristics to other classes (i. e., the subclasses of the class). In some places, classes are defined as "the set of all instances of a type," and the term "type" is given the above definition for class.”

Edward V. Berard

Source: Essays on object-oriented software engineering (1993), p. 328

World, Family

“These organizational processes result in our perceptions being structured into units corresponding to objects and properties of objects. It is these larger units that may be stored and later assembled into images that are experienced as quasi-pictorial, spatial entities resembling those evoked during perception itself…. It is erroneous to equate image representations with mental photographs, since this would overlook the fact that images are composed from highly processed perceptual encodings.”

Stephen Kosslyn (1948) American psychologist

Source: Image and Mind. 1980, p. 19

“The soul, he said, is composed
Of the external world.”

Wallace Stevens (1879–1955) American poet

"Anecdote of Men by the Thousand"

World, Soul

“We have acted in the name of world peace and of humanity. Always the obstacles to be encountered have been distrust, suspicion and hatred. The great effort has been to allay and remove these sentiments. I believe that America can assist the world in this direction by her example. We have never forgotten the service done us by Lafayette, but we have long ago ceased to bear an enmity toward Great Britain by reason of two wars that were fought out between us. We want Europe to compose its difficulties and liquidate its hatreds. Would it not be well if we set the example and liquidated some of our own? The war is over. The militarism of Central Europe which menaced the security of the world has been overthrown. In its place have sprung up peaceful republics. Already we have assisted in refinancing Austria. We are about to assist refinancing Germany. We believe that such action will be helpful to France, but we can give further and perhaps even more valuable assistance both to ourselves and to Europe by bringing to an end our own hatreds. The best way for us who wish all our inhabitants to be single-minded in their Americanism is for us to bestow upon each group of our inhabitants that confidence and fellowship which is due to all Americans. If we want to get the hyphen out of our country, we can best begin by taking it out of our own minds. If we want France paid, we can best work towards that end by assisting in the restoration of the German people, now shorn of militarism, to their full place in the family of peaceful mankind.”

Calvin Coolidge (1872–1933) American politician, 30th president of the United States (in office from 1923 to 1929)

1920s, Ordered Liberty and World Peace (1924)

War, People, World, Family

“Societies are composed of individuals and are good only insofar as they help individuals to realize their potentialities and to lead a happy and creative life.”

Aldous Huxley book Brave New World Revisited

Source: Brave New World Revisited (1958), Chapter 3 (p. 20)

Life, Happiness, Help

“The Constitution, in all its provisions, looks to an indestructible Union composed of indestructible States.”

Salmon P. Chase (1808–1873) Chief Justice of the United States

Texas v. White, 7 Wallace, 725 (1869)

“Once helium burning has occurred… the next possible reaction—carbon burning—is not necessarily slow… This reaction involves …a strong as opposed to a weak interaction. …Carbon burning results in magnesium. …Taking a cross section of a highly evolved star would reveal a system of many layers. The inner layers have been subjected to the largest pressures, thereby forced to the highest temperatures, and burned the furthest; the outermost layers, by contrast, have not burned at all. Thus, as we proceed from outside in, there will be an outermost layer with the initial mix of hydrogen and helium, a layer of mostly helium, a layer of carbon, a layer of magnesium, and so on. …So we arrive at the picture of a star, in the latest stages of its evolution… now composed of mostly carbon nuclei and other explosive material.”

Frank Wilczek (1951) physicist

Longing for the Harmonies: Themes and Variations from Modern Physics (1987)

Star, Strong

“Art, I suppose, is only for beginners, or else for those resolute dead-enders, who have made up their minds to be content with the ersatz of Suchness, with symbols rather than with what they signify, with the elegantly composed recipe in lieu of actual dinner.”

Aldous Huxley book The Doors of Perception

The Doors of Perception (1954)

Art, Dead

“Within the vast, virtually limitless piano repertoire, the piano sonatas of Sergei Prokofiev occupy a special place. Apart from Alexander Scriabin early in the century, Prokofiev was the only major twentieth-century composer to pay such consistent attention to the form, … They are a constant presence in concert programs and are considered an indispensable part of the repertoire by almost every serious concert pianist.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Preface

Parting

“I object to background music no matter how good it is. Composers want people to listen to their music, they don't want them doing something else while their music is on. I'd like to get the guy who sold all those big businessmen the idea of putting music in the elevators, for he was really clever. What on earth good does it do anybody to hear those four or eight bars while going up a few flights.”

Aaron Copland (1900–1990) American composer, composition teacher, writer, and conductor

Quoted in Classic Essays on Twentieth-Century Music, ISBN 0028645812.

People, Music, Guy, Idea

“Almost 30 percent of the total matter-energy budget is said to be composed of so-called cold dark matter and almost 70 percent of "dark energy," leaving only about 4 percent as visible matter in the form of the atoms that make up the stars, planets, interstellar dust, and ourselves. Such is the degree of discrepancy between theory and observations today.”

John Moffat book Reinventing Gravity

Prologue, The Elusive Planet Vulcan, A Parable, p. 5
Reinventing Gravity (2008)

Star

“The Continental Congress was not only composed of great men, but it represented a great people. While its members did not fail to exercise a remarkable leadership, they were equally observant of their representative capacity. They were industrious in encouraging their constituents to instruct them to support independence. But until such instructions were given they were inclined to withhold action.”

Calvin Coolidge (1872–1933) American politician, 30th president of the United States (in office from 1923 to 1929)

1920s, Speech on the Anniversary of the Declaration of Independence (1926)

Men, People, Exercises, Support

“If I belong to a tradition, it is a tradition that makes the masterpiece tell the performer what to do, and not the performer telling the piece what it should be like, or the composer what he ought to have composed.”

Alfred Brendel (1931) Austrian pianist, poet, and author

Studs Terkel (2006). And They All Sang: The Great Musicians of the 20th Century Talk about Their Music. p. 287

“Wagner exploited all forms of expression at a composer's disposal -- harmony, dynamics, orchestration -- to the extreme. His music is highly emotional, and at the same time Wagner has extraordinary control over the effect he achieves. That's why there is also something manipulative about Wagner's music, which is not to say that it's not honest. In fact, I believe that it's totally honest, but it also happens to be manipulative.”

Daniel Barenboim (1942) Israeli Argentine-born pianist and conductor

SPIEGEL Interview with Daniel Barenboim

Music, Time

“While we can conceive of a sum [or aggregate] as being composed gradually, a system as a total of parts with its [multiplicative] interrelations has to be conceived of as being composed instantly.”

Ludwig von Bertalanffy (1901–1972) austrian biologist and philosopher

Source: General System Theory (1968), 3. Some System Concepts in Elementary Mathematical Consideration, p. 55 as cited in: Anthony Wilden (2003) System and Structure: Essays in Communication and Exchange. p. 245

Parting

“But now suppose the soul, when separate,
Could live, and think, in a divided state:
Yet what is that to us, who are the whole,
A frame composed of body, joined with soul?
Nay, grant the scattered ashes of our urn,
Be joined again, and life and sense return:
Yet how can that concern us, when 'tis done,
Since all the memory of past life is gone?
Now we ne'er joy, nor grieve, to think that we
Were heretofore, nor what those things will be,
Which framed from us, the following age shall see.
When we revolve, how numerous years have run,
How oft the east beheld the rising sun
E'er we began, and how the atoms move,
How the unthinking seed forever strove;
'Tis probable, and reason's laws allow,
These seeds of ours were once combined as now;
Yet now who minds, who knows his former state?
The interim of death, the hand of fate,
Or stopped the seeds, or made them all commence
Such motions, as destroyed the former sense.”

Thomas Creech (1659–1700) English translator

T. Lucretius Carus the Epicurean Philosopher, His Six Books De Natura Rerum Done into English Verse (1682), Book III, lines 820–840

Life, Death, Fate, Age

“Of the whole population of Hindustan it is notorious that five parts in six are composed of Hindus, the adorers of images, and the whole concerns of trade and manufacture… are entirely under the management of these classes. Were it, therefore, ever so much my desire to convert them to the true faith, it would be impossible, otherwise than through excision of millions of men… but the massacre of a whole people can never be any business of mine.”

Jahangir (1569–1627) 4th Mughal Emperor

Tarikh-i-Salim Shahi (Calcutta Edition), (According to K.S. Lal, some scholars hold that this work is a fabrication and does not comprise the real Memoirs of Jahangir), quoted from Lal, K. S. (1990). Indian muslims: Who are they.

Men, People, Faith, Business

“I have never been able to understand women composers who do not wish to be called women composers. I understand their argument but it seems so superficial to me. Our strength lies in our identification with women and music.”

Beth Anderson (1950) American neo-romantic composer

What Makes Music Woman Oriented (1996)

Women, Music, Understanding

“That the people have a Right to mass and to bear arms; that a well-regulated militia composed of the Body of the people, trained to arms, is the proper natural and safe defense of a free state, that standing armies, in time of peace, are dangerous to liberty, and therefore ought to be avoided.”

George Mason (1725–1792) American delegate from Virginia to the U.S. Constitutional Convention

Draft proposal, 3 Elliot, Debates at 659

People, Peace, Nature, Time

“[O]ligarchy, strictly speaking, is a regime "in which a rich minority rules for the advantage of the rich minority and in which the people composing that political society are ranked… because the ruling principle of that regime is the principle of natural inequality." Aristotle called it a deviant form of aristocracy (in the same way that tyranny is a deviant form of monarchy), and in practical terms, it exhibits its form through excessive concentrations of property in the hands of a few, the reservation of education to the elite, and the organization of government to serve the purposes of the oligarchs.”

Allen C. Guelzo (1953) American historian

2010s, Bullwhip Feudalism (2018)

People, Education, Way, Nature

“Sooner or later a democracy which is to survive has to be able to rely upon that enlargement of vision and purpose of those individuals who compose it, which means that their craving for devotion and self-sacrifice is satisfied in a democratic society on a nobler level, and with a finer recognition of the value of individual personality than is true of a national purpose of a totalitarian state under a dictator.”

Ordway Tead (1891–1973) American academic

Attributed to Ordway Tead in: Forbes (1950) The Forbes scrapbook of Thoughts on the business of life. p. 138.

Democracy, Personality

“When I was a small child, The New York Times received every new creation of Igor Stravinsky with hostility, but even then I knew, like everybody else, that he was the greatest living composer-and I knew it even without having heard much Stravinsky or even any of the more recent works at all. It is a mistake of music historians to rely too much on journalists and music critics to assess a composer's reputation, as we generally find a certain delay in their transmission of the more influential professional judgments.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 2 : How to Become Immortal

Hostility, Music, Time

“So why fret and care that the actual version of the destined deed was done by an upper class English gentleman who had circumnavigated the globe as a vigorous youth, lost his dearest daughter and his waning faith at the same time, wrote the greatest treatise ever composed on the taxonomy of barnacles, and eventually grew a white beard, lived as a country squire just south of London, and never again traveled far enough even to cross the English Channel? We care for the same reason that we love okapis, delight in the fossil evidence of trilobites, and mourn the passage of the dodo. We care because the broad events that had to happen, happened to happen in a certain particular way. And something unspeakably holy—I don't know how else to say this—underlies our discovery and confirmation of the actual details that made our world and also, in realms of contingency, assured the minutiae of its construction in the manner we know, and not in any one of a trillion other ways, nearly all of which would not have included the evolution of a scribe to record the beauty, the cruelty, the fascination, and the mystery.”

Stephen Jay Gould book The Structure of Evolutionary Theory

Source: The Structure of Evolutionary Theory (2002), p. 1342

Love, Youth, World, Faith

“In particular, unification represents my purpose to bring about God’s ideal world. Unification is not union. Union is when two things come together. Unification is when two become one. “Unification Church” became our commonly known name later, but it was given to us by others. In the beginning, university students referred to us as “the Seoul Church.” I do not like using the word kyo-hoi in its common usage to mean church. But I like its meaning from the original Chinese characters. Kyo means “to teach,” and Hoi means “gathering.” The Korean word means, literally, “gathering for teaching.” The word for religion, jong-kyo, is composed of two Chinese characters meaning “central” and “teaching,” respectively. When the word church means a gathering where spiritual fundamentals are taught, it has a good meaning. But the meaning of the word kyo-hoi does not provide any reason for people to share with each other. People in general do not use the word kyo-hoi with that meaning. I did not want to place ourselves in this separatist type of category. My hope was for the rise of a church without a denomination. True religion tries to save the nation, even if it must sacrifice its own religious body to do so; it tries to save the world, even at the cost of sacrificing its nation; and it tries to save humanity, even if this means sacrificing the world. By this understanding, there can never be a time when the denomination takes precedence. It was necessary to hang out a church sign, but in my heart I was ready to take it down at any time. As soon as a person hangs a sign that says “church,” he is making a distinction between church and not church. Taking something that is one and dividing itinto two is not right. This was not my dream. It is not the path I chose to travel. If I need to take down that sign to save the nation or the world, I am ready to do so at any time.”

Sun Myung Moon (1920–2012) Korean religious leader

2009, As a Peaceloving Global Citizen http://www.euro-tongil.org/swedish/english/TFbiography.pdf, page 56.

God, People, World, Religion

“Yes, Afghanistan is composed of 18 different communities marked by ethnic, linguistic and religious differences. But ask any Afghan who he is, and he won’t hesitate to reply: an Afghan! The national identity has taken shape over 300 years — after all, as a state, Afghanistan is older than America, Germany and Italy. It is also one of the oldest Muslim nation-states.”

Amir Taheri (1942) Iranian journalist

"Myths of our Afghanistan debate" http://nypost.com/2009/10/15/myths-of-our-afghanistan-debate/, New York Post (October 15, 2009). New York Post

Communication

“The history of organization theory contrasts with the history of managerial thought. When people began to compose texts about organized activities, between 2,000 and 3,000 years before the Christian era (BCE), they focused on managerial practices rather than on organizations as such. Several writers proposed general principles for managerial practice before 1000 BCE, so one can say that theories about managing have existed for at least 3000 years. However, these writings often said nothing about the organizational contexts in which managing was to occur. When the writers did make statements about organizations, they did not generalize. They wrote about specific organizations.”

William H. Starbuck (1934) American academic

Source: "The Origins of Organizational Theory," 2005, p. 143

People, History

“I am convinced that the decisive factor in dramatic effect will be a smaller orchestra, which does not drown out the human voice as does a large orchestra…The orchestra of the opera of the future is the chamber orchestra which, by painting in the background of the action on the stage with crystalline clearness, can alone realise precisely the intention of the composer with regard to the vocal parts. It is after all an important desideratum that the audience should not only hear the sounds but should also be able to follow the words closely.”

Richard Strauss (1864–1949) German composer and orchestra director

On composing and conducting (page 39-40) (1929).
Recollections and Reflections

Decision, Future, Parting, Painting

“Writing letters with me is not a thing that can be done at odd scraps of time. I must sit down, compose myself & collect all of my thoughts.”

Charles Robert Leslie (1794–1859) British painter (1794-1859)

Autobiographical Recollections of C. R. Leslie with Selections from his correspondence Ed. Tom Taylor , Ticknor & Fields, Boston 1860

Time

“He loved hitherto-unthought-of, thereafter-unthinkable combinations of instruments. When some extraordinary array of players filed half-proudly, half-sheepishly on to the stage, looking like the Bremen Town Musicians—if those were, as I think they were, a rooster, a cat, a dog, and a donkey—you could guess beforehand that it was to be one of Gottfried’s compositions. His Joyous Celebration of the Memory of the Master Johann Sebastian Bach had a tone-row composed of the notes B, A, C, and H (in the German notation), of these inverted, and of these transposed; and there were four movements, the first played on instruments beginning with the letter b, the second on instruments beginning with the letter a, and so on. After the magnificent group that ushered in the piece (bugle, bass-viol, bassoon, basset-horn, bombardon, bass-drum, baritone, and a violinist with only his bow) it was sad to see an Alp horn and an accordion come in to play the second movement. Gottfriend himself said about the first group: “Vot a bunch!””

Randall Jarrell book Pictures from an Institution

When I asked him how he had thought of it he said placidly: “De devil soldt me his soul.”
Source: Pictures from an Institution (1954) [novel], Chapter 4: “Constance and the Rosenbaums”, p. 136

Love, Sadness, Dogs, Soul

“Nothing carries so much authority today as science, but there is actually no such thing as ‘the scientific world-view’. Science is a method of inquiry, not a view of the world. Knowledge is growing at accelerating speed; but no advance in science will tell us whether materialism is true or false, or whether humans possess free will. The belief that the world is composed of matter is metaphysical speculation, not a testable theory. Science may succeed in explaining events in terms of causes and effects. In some accounts it may be able to formulate laws of nature. But what does it mean for something to cause something else and what is a law of nature? These are questions for philosophy or religion, not for science.”

John Gray (1948) British philosopher

Freedom for Über-Marionettes: What Science Won't Tell You (p. 149)
The Soul of the Marionette: A Short Enquiry into Human Freedom (2015)

World, Religion, Law, Question

“Industrial age companies created sharp distinctions between two groups of employees. The intellectual elite—managers and engineers—used their analytical skills to design products and processes, select and manage customers, and supervise day-to-day operations. The second group was composed of the people who actually produced the products and delivered the services. This direct labor work force was a principal factor of production for industrial age companies, but used only their physical capabilities, not their minds. They performed tasks and processes under direct supervision of white-collar engineers and managers. At the end of the twentieth century, automation and productivity have reduced the percentage of people in the organization who perform traditional work functions, while competitive demands have increased the number of people performing analytic functions: engineering, marketing, management, and administration. Even individuals still involved in direct production and service delivery are valued for their suggestions on how to improve quality, reduce costs, and decrease cycle times…
Now all employees must contribute value by what they know and by the information they can provide. Investing in, managing, and exploiting the knowledge of every employee have become critical to the success of information age companies”

Robert S. Kaplan (1940) American accounting academic

Source: The Balanced Scorecard, 1996, p. 5-6

People, Age, Knowledge, Time

“The Systems engineering method recognizes each system is an integrated whole even though composed of diverse, specialized structures and sub-functions. It further recognizes that any system has a number of objectives and that the balance between them may differ widely from system to system. The methods seek to optimize the overall system functions according to the weighted objectives and to achieve maximum compatibility of its parts.”

Harold Chestnut (1917–2001) American engineer

Source: Systems Engineering Tools, (1965), p. 8; Cited in: Peter Allen, Steve Maguire, Bill McKelvey (2011) The SAGE Handbook of Complexity and Management. p. 35

Optimism, Parting

“I could not have learned to listen to coyotes without having first learned to listen to my unwillingness to sell my hours, then to listen to the signals of my body, then to listen to the disease that has made my insides my home, and thus become a part of me. And I could not have learned to listen to coyotes without having talked to other people courageous enough to validate my perception of an animate world. I talked to the writer Christoper Manes, who said, 'For most cultures through history--including our own in preliterate times--the entire world used to speak. Anthropologists call this animism, the most pervasive worldview in human history. Animistic cultures listen to the natural world. For them, birds have something to say. So do worms, wolves, and waterfalls.' Later the philosopher Thomas Berry told me, 'The universe is composed of subjects to be communed with, not objects to be exploited. Everything has its own voice. Thunder and lightning and stars and planets, flowers, birds, animals, trees--all these have voices, and they constitute a community of existence that is profoundly related.”

Derrick Jensen book A Language Older Than Words

Source: A Language Older Than Words (2000), p. 361

People, World, Disease, Home

“Of course some sort of general idea they must have, if they were to do their work intelligently — though as little of one as possible. For particulars, as every one knows, make for virtue and happiness; generalities are intellectually necessary evils. Not philosophers but fretsawyers and stamp collectors compose the backbone of society”

Aldous Huxley book Brave New World

Source: Brave New World (1932), Ch. 1

Happiness, Intelligence, Idea, Evil

“Beethoven is the first composer to represent the complex process of memory-not merely the sense of loss and regret that accompanies visions of the past, but the physical experience of calling up the past within the present.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 3 : Mountains and Song Cycles

Sense, Memory, Loss, Past

“Cruel, but composed and bland,
Dumb, inscrutable and grand,
So Tiberius might have sat,
Had Tiberius been a cat.”

Matthew Arnold (1822–1888) English poet and cultural critic who worked as an inspector of schools

" Poor Matthias http://www.flippyscatpage.com/frompoormatthias.html" (1867)

Cats

“For what is a nation? What is our mother-country? It is not a piece of earth, nor a figure of speech, nor a fiction of the mind. It is a mighty Shakti, composed of the Shaktis of all the millions of units that make up the nation, just as Bhawani Mahisha Mardini sprang into being from the Shakti of all the millions of gods assembled in one mass of force and welded into unity. The Shakti we call India, Bhawani Bharati, is the living unity of the Shaktis of three hundred million people, but she is inactive, imprisoned in the magic circle of Tamas, the self-indulgent inertia and ignorance of her sons…”

Sri Aurobindo (1872–1950) Indian nationalist, freedom fighter, philosopher, yogi, guru and poet

Bhawani Mandir, 1905
India's Rebirth

God, People, Country

“Science is not distinguished from myth by science being literally true and myth only a type of poetic analogy. While their aims are different, both are composed of symbols we use to deal with a slippery world.”

John Gray (1948) British philosopher

Beyond the Last Thought: Freud's cigars and the long way round to Nirvana (p. 96)
The Silence of Animals: On Progress and Other Modern Myths (2013)

World, Science

“I often think that Aniela does me a great wrong, not to say that she calls things by wrong names. She considers my love a mere earthly feeling, an infatuation of the senses. I do not deny that it is composed of various threads, but there are among them some as purely ideal as if spun of poetry. Very often my senses are lulled to sleep, and I love her as one loves only in early youth. Then the second self within me mocks, and says derisively: "I had no idea you could love like a schoolboy or a romanticist!"”

Henryk Sienkiewicz book Without Dogma

Yet such is the fact. I may be ridiculous, but I love her thus, and it is not an artificial feeling.
12 July
Without Dogma (1891)

Love, Youth, Feeling, Idea

“No serious sociologist any longer believes that the voice of the people expresses any divine or specially wise and lofty idea. The voice of the people expresses the mind of the people, and that mind is made up for it by the group leaders in whom it believes and by those persons who understand the manipulation of public opinion. It is composed of inherited prejudices and symbols and clichés and verbal formulas supplied to them by the leaders.”

Edward Bernays book Propaganda

Page 109
Propaganda (1928)

People, Idea, Understanding, Personality

“Yes, in the sense that the negative is like the composer’s score. Then, using that musical analogy, the print is the performance. (Paraphrased as "Film is the score and the print is the performance.")”

Ansel Adams (1902–1984) American photographer and environmentalist

Music, Sense

“Modern European composers…have very largely received their stimulus, their rhythms and impulses from Machine Age America. They have a much older tradition of musical technique which has helped them put into musical terms a little more clearly the thoughts that originated here. They can express themselves more glibly.”

George Gershwin (1898–1937) American composer and pianist

Page 386
The Composer in the Machine Age (1933)

Age, Music, Help

“Well! according to the sketch your picture [which Whistler sent him in a letter] seems well-composed, the lines of sky, sea, the position of the figures all that seems very, very well done[, ] on opening the letter it struck me immediately, an impression of decorative ornamentation which makes a good picture appeal to the eye as well - upside down and any other way up. Arrangement, layout, composition. etc - mysterious words harmonious laws - in no way conventional - needs of the Artist glory of the Raphael's Michelangelo's etc etc - for me a repetition a hesitation, a matter of feeling - which should also be a law, a mathematical thing, like form, like light, colour[. ] I find similarities with the colour method which works by opposing colours to arrive at a harmony that is to say to make a canvas a complete whole, to put into a small space an image with all the forces all the principles of nature - [instead of showing a part of it]..”

Henri Fantin-Latour (1836–1904) painter from France

quote from a letter of Fantin-Latour, Paris 7-14 October 1862 to James Whistler; from The Correspondence of James McNeill Whistler - Repository: Glasgow University Library http://www.whistler.arts.gla.ac.uk/correspondence/people/display/?cid=1075&nameid=Manet_E&sr=0&surname=&firstname=&rs=1 - System Number: 01075; Call Number: MS Whistler F 6.

Law, Way, Feeling, Mathematics

“Prokofiev was not alone among the leading composers of the twentieth century in changing his style repeatedly in the course of his career: Stravinsky, Schoenberg, Bartók, and others modified their musical language drastically at various stages of their creative lives. In Prokofiev’s case, he always maintained certain stylistic facets throughout the transformations of his musical language.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev: His Life and the Evolution of His Musical Language

Music, Change

“A system composed of 100,000 lines of C++ is not be sneezed at, but we don't have that much trouble developing 100,000 lines of COBOL today. The real test of OOP will come when systems of 1 to 10 million lines of code are developed.”

Ed Yourdon (1944–2016) American software engineer and pioneer in the software engineering methodology

Yourdon (1990) cited in: Andreas Paepcke (1991) Object-oriented Programming Systems, Languages and Applications. p. 166.

“Yes I have spoken on Gandhi ji’s Vaishnav Jan bhajan at many places. In fact, I used to deliver hour-long speeches describing why Gandhi ji loved this bhajan. If we think carefully and dwell on each word of this song, composed 500 years ago, we will find that everything said in it is still relevant, especially for our public life. He speaks against corruption and importance of personal integrity. In short, it is a manifesto for public life and morality. So, I worked around the words and would say: … "A people’s representative is one who feels the pain of others; one who removes the sorrows of others and yet does not let a trace of pride or arrogance come into his heart."
This used to be part of my worker development programmes. I used to analyse each line of this bhajan and explain why Gandhi ji promoted these values in public life; it contains all the wisdom you need for public life. It is a great misfortune for our country that this bhajan is played only on October 2 at Rajghat. It should have become an instrument of inculcating moral values. Gandhi ji liked this bhajan because Gandhi’s DNA and the elements of this geet match each other. I hold it up as a model of conduct for our party and RSS workers. In the RSS, there is an old tradition of remembering this bhajan every morning. Their pratah smaran (morning remembrance) starts with Gandhi ji’s name.”

Narendra Modi (1950) Prime Minister of India

Narendra Modi quoted from Kishwar, Madhu (2014). Modi, Muslims and media: Voices from Narendra Modi's Gujarat. p.379-380
2013

Love, Life, Wisdom, Pain

“On the eve of its coming to power, industrial workers composed nearly one-third of the Nazi Party membership and constituted its largest occupational groups. The party adopted the Red Flag, declared May 1 a paid national holiday, and required its members to address one another as Genossen or ‘comrades.”

Richard Pipes (1923–2018) American historian

Source: Property and Freedom (1999), p. 220

Holiday

“Composed for renown am I, a verse heard
four times over in the four-quartered fort
in the song of the cauldron when first it gave voice,
warmed by the breath of nine maidens.
The Chief of Annwn's cauldron, who finished
the rim around its edge with pearl,
swore never should it cook a coward's food?
A bright flashing sword was raised to it
and it was left in the hand of Llenlleawc
and lanterns shone before Hell's mouth's door
and when we went in with Arthur trouble glittered:
Save for seven none came up from Fort Mead-mad.”

Taliesin (534–599) Welsh bard

Book of Taliesin (c. 1275?), The Spoils of Annwn

Food, Hell, Time, Madness

“I make a little mystique for myself. Since I have no preference or so-called sense of color, I could take almost everything that could be some accident of a previous painting. Or I set out to make a series. I take, for instance, some pictures where I take a color, some arbitrary color I took from some place. Well, this is gray maybe, and I mix the color for that, and then I find out that when I am through with getting the color the way I want it, I have six other colors in it, to get that color; and then I take those six colors and I use them also with this color. It is probably like a composer does a variation on a certain theme. But it isn't technical, it isn't just fun.”

Willem de Kooning (1904–1997) Dutch painter

interview conducted by David Sylvester for the BBC, 1962; as quoted in Abstract Expressionism: Creators and Critics, edited by Clifford Ross, Abrahams Publishers, New York 1990, p. 50.
1960's

Color, Way, Sense, Painting

“Four a. m., having just returned from an evening at the Golden Spheres, which despite the inconveniences of heat, noise and overcrowding was not without its pleasures. Thankfully, there were no dogs and no children. The gowns were middling. There was a good deal of shouting and behavior verging on the profligate, however, people were very free with their compliments and I made several new acquaintances. There was Lindsay Doran of Mirage, wherever that might be, who is largely responsible for my presence here, an enchanting companion about whom too much good cannot be said. Mr. Ang Lee, of foreign extraction, who most unexpectedly appeared to understand me better than I understand myself. Mr. James Shamis, a most copiously erudite person and Miss Kate Winslet, beautiful in both countenance and spirit. Mr. Pat Doyle, a composer and a Scot, who displayed the kind of wild behaviour one has learned to expect from that race. Mr. Mark Kenton, an energetic person with a ready smile who, as I understand it, owes me a great deal of money. [Breaks character, smiles. ] TRUE!! [Back in character. ] Miss Lisa Henson of Columbia, a lovely girl and Mr. Garrett Wiggin, a lovely boy. I attempted to converse with Mr. Sydney Pollack, but his charms and wisdom are so generally pleasing, that it proved impossible to get within ten feet of him. The room was full of interesting activity until 11 p. m. when it emptied rather suddenly. The lateness of the hour is due, therefore, not to the dance, but to the waiting in a long line for a horseless carriage of unconscionable size. The modern world has clearly done nothing for transport.”

Emma Thompson (1959) British actress and writer

Golden Globe Award Speech

Love, Wisdom, Money, Children

“In your [ composer Schönberg's ] works, you have realized what I, albeit in uncertain form, have so greatly longed for in music. The independent progress through their own destinies, the independent life of the individual voices in your compositions, is exactly what I am trying to find in my painting.”

Wassily Kandinsky (1866–1944) Russian painter

in his letter to Arnold Schönberg, 18 Jan. 1911; as cited in Schonberg and Kandinsky: An Historic Encounter, by Klaus Kropfinger; edited by Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an informal company), 2003, p. 9
Kandinsky visited a concert with music of Schönberg on 11 Jan. 1911 with Franz Marc, Alexej von Jawlensky, Gabriele Münter and others; they played compositions, Schönberg wrote in 1907 and 1909: his second string quartet and the 'Three piano pieces'
1910 - 1915

Life, Music, Painting

“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

Death, Truth, World, Music

Quotes about composer page 5

Quotes about composer
page 5