Quotes about tempo (38 quotes) | Quotes of famous people

“Shoot down, behead and eliminate the Socialists first, if need be, by a blood-bath, then war abroad. But not before, and not à tempo.”

Wilhelm II, German Emperor (1859–1941) German Emperor and King of Prussia

Letter to German Chancellor Bernhard von Bülow (1 January 1906), quoted in Fritz Fischer, Germany's Aims in the First World War (New York: W. W. Norton & Co, 1967), p. 22
1900s

War

“A great piece of music is beautiful regardless of how it is performed. Any prelude or fugue of Bach can be played at any tempo, with or without rhythmic nuances, and it will still be great music. That's how music should be written, so that no-one, no matter how philistine, can ruin it.”

Dmitri Shostakovich (1906–1975) Russian composer and pianist

Letter to Isaac Glikman, August 28, 1955; Josiah Fisk & Jeff Nichols (eds.) Composers on Music (1997) p. 364.

Beauty , Music

“To Be or Not to Be: In Nature all life is a question of the minutest, but extremely precisely graduated differences in the particular thermal motion within every single body, which continually changes in rhythm with the processes of pulsation. This unique law, which manifests itself throughout Nature's vastness and unity and expresses itself in every creature and organism, is the ' law of ceaseless cycles' that in every organism is linked to a certain time span and a particular tempo. The slightest disturbance of this harmony can lead to the most disastrous consequences for the major life forms. In order to preserve this state of equilibrium, it is vital that the characteristic inner temperature of each of the millions of micro-organisms contained in the macro-organisms be maintained.”

Viktor Schauberger (1885–1958) austrian philosopher and inventor

Callum Coats: Water Wizard
Viktor Schauberger: Our Senseless Toil (1934)

Life , Law , Question , Nature

“[Serafin was] an extraordinary coach, sharp as a vecchio lupo [old wolfe]. He opened a world to me, showed me there was a reason for everything, that even fiorature and trills… have a reason in the composer's mind, that they are the expression of the stato d'animo [state of mind] of the character — that is, the way he feels at the moment, the passing emotions that take hold of him. He would coach us for every little detail, every movement, every word, every breath. One of the things he told me — and this is the basis of bel canto — is never to attack a note from underneath or from above, but always to prepare it in the face. He taught me that pauses are often more important than the music. He explained that there was a rhythm — these are the things you get only from that man! — a measure for the human ear, and that if a note was too long, it was no good after a while. A fermata always must be measured, and if there are two fermate close to one another in the score, you ignore one of them. He taught me the proportions of recitative — how it is elastic, the proportions altering so slightly that only you can understand it…. But in performance he left you on your own. "When I am in the pit, I am there to serve you, because I have to save my performance." he would say. We would look down and feel we had a friend there. He was helping you all the way. He would mouth all the words. If you were not well, he would speed up the tempo, and if you were in top form, he would slow it down to let you breathe, to give you room. He was breathing with you, living the music with you, loving it with you. It was elastic, growing, living.”

Maria Callas (1923–1977) American-born Greek operatic soprano

Callas : The Art and the Life (1974)

Love , World , Music , Way

“Working to timings and synchronising your musical thoughts with the film can be stimulating rather than restrictive. Scoring is a limitation but like any limitation is can be made to work for you. Verdi, except for a handful of pieces, worked best when he was 'turned on' by a libretto. The most difficult problem in music is form, and in a film you already have this problem solved for you. You are presented with a basic structure, a blueprint, and provided the film has been well put together, well edited, it often suggests its own rhythms and tempo. The quality of the music is strictly up to the composer. Many people seem to assume that because film music serves the visual it must be something of secondary value. Well, the function of any art is to serve a purpose in society. For many years, music and painting served religion. The thing to bear in mind is that film is the youngest of the arts, and that scoring is the youngest of the music arts. We have a great deal of development ahead of us.”

Jerry Goldsmith (1929–2004) film composer

ibid., p. 209

People , Religion , Art , Music

“His life rushes onward in such torrential rhythm that… only angels and devils can catch the tempo of it.”

Anaïs Nin (1903–1977) writer of novels, short stories, and erotica

Source: Henry and June: From "A Journal of Love"--The Unexpurgated Diary of Anaïs Nin

Life , Angels

“Thinking of a series of dreams
Where the time and the tempo fly
And there's no exit in any direction
'Cept the one that you can't see with your eyes”

Bob Dylan (1941) American singer-songwriter, musician, author, and artist

Dreams , Thinking , Time , Flying

“I'll very often just start humming my way through a scene. Say, OK the tempo should be about like this, it should pause here, it should pick up here. And very often I'll make up a little melody just to do that. About half of the little melodies in the score for Jonah are those little melodies that I made up just to use to kind of pace a scene and then we got kind of attached to them.”

Phil Vischer (1966) American puppeter

From Disc Two; The Music: The Score (00:00:17-00:00:38)
Jonah: A VeggieTales Movie DVD (2002)

Way

“[David Sylvester asked Gottlieb, he is aware of the impact of the city New York on his painting:] Definitely I am. When I was in Paris last spring, my original plan was to go for four months and to paint there, and a number of people urged me to stay. That wanted to see what would happen, how my painting would change. But I felt strongly after being there less than a month that it was necessary for me to come back to New York, because I feel a certain rhythm in New York I don't feel in Paris.... there is a tempo in the life of New York which is exhilarating and I feel that this gets into one's painting. It's the pulse, not the look. I'am not involved with the external appearance of the city; it’s the vibrations. ]”

Adolph Gottlieb (1903–1974) American artist

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in ‘Living Arts, June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 33
1960s

Life , People , Feeling , Spring

“I’d got all this new technology and we spent a year making the album, programming all these primitive computers. [The LinnDrum] sounded so much like real drums it was difficult to tell it apart. The tempo was absolutely precise because it all ran to a digital clock and the record just was precision itself. It was also very simple. If you actually analyse what was going on at any given moment in time there may be only four or five things going on, but it does the job.”

Martin Rushent (1948–2011) English record producer

Serck, Linda, Legendary producer Martin Rushent, 2009, http://www.getreading.co.uk/entertainment/music/s/2061462_legendary_producer_martin_rushent, Get Reading, 6 June 2011

Time

“[On his Live Aid appearance with members of Led Zeppelin] They wanted me there early to rehearse the old Zeppelin songs, but I couldn't make it and I told them, "Listen, I know the songs. I know them backward and forward." Well, that day the tempos were all over the place, and it may have seemed like it was my fault, because I was the one who hadn't rehearsed, but I would pledge to my dying day that it wasn't me. In fact, it was Tony Thompson who was racing a bit; he was a bit nervous, I guess. It came off because of the magic of being Zeppelin; but I remember in the middle of the thing, I actually thought, How do I get out of here?”

Phil Collins (1951) English musician, songwriter and actor

Playboy interview (October 1986)

Appearance

“Just try and keep up with those feet of his sometime! Try and look graceful while thinking where your right hand should be, and how your head should be held, and which foot you end the next eight bars on, and whether you're near enough to the steps to leap up six of them backward without looking. Not to mention those Astaire rhythms. Did you ever count the different tempos he can think up in three minutes?”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Ginger Rogers in Evans, Harry. "Ginger, Leila, and Fred." Family Circle, May 8, 1936. (M).

Thinking

“One of the most winning characteristics of Prokofiev’s music is its indomitable energy. In expressing this quality, stability of tempo is particularly important.”

Boris Berman (1948) Russian/American musician

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

Music

“Our time has produced a need for contrast. This has been achieved not only in the external appearance of plastic expressions of coulor and matter, but also, and chiefly, in the tempo of life and in the techniques related to the daily, mechanical functions of life; namely standing, walking, driving, to lying and sitting – in short, every action which determines the content of architecture.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

1926 – 1931
Source: 'Painting: from composition towards counter-composition'; in 'Painting and plastic art', De Stijl, series XIII, 73-4, 1926, pp. 17–18

Life , Lying , Appearance , Time

“Dicko: Yeah, you're a fantastic lesson in persistence, actually. You came and were rejected, and then came again and have got this far. That was an absolutely fantastic song for you and I think we're beginning to see which songs are your comfort zone. I guess the question is, how are you gonna do with more up-tempo stuff? I don't recall hearing you sing too many up-tempo songs so far and if you get to the next round, that's something which you will be tested on. But that was, I thought, one of the performances of the night. I think you're doing exactly what a contestant should do in this competition and that's to rise to the occasion, rise to the challenge and grow. And that's what you're doing. You're growing on me too. I thought that was tremendous, I really do. Well done.”

Hayley Jensen (1983) Australian singer

Australian Idol, First Round

Question , Thinking , Singing , Night

“It was a DJ style which helped to create the lifestyle which came to be known as hip hop. At the beginning of the disco era in the first half of the 1970s, regular disco jocks in clubs were most concerned with the blend between one record and the next - matching tempos to make a smooth transition which, at its best, could continually alter the mood on the dancefloor without breaking the flow.”

David Toop (1949) British musician

David Toop (1991). Rap Attack 2: African Rap To Global Hip Hop, p.12. New York. New York: Serpent's Tail. ISBN 1852422432.

Mood , Help

“On the water, aboard the Proteus, the crowding, the activities, the tempo, of life in the cities, on the land, are muted, slowed—fictionalized—by the metaphysical distancing a few meters of water can provide. We alter the landscape with great facility, but the ocean has always seemed unchanged, and I suppose by extension we are infected with some feelings of timelessness whenever we set out upon her.”

Roger Zelazny (1937–1995) American speculative fiction writer

Home is the Hangman (1975)

Life , Feeling , Water

“At best Americans give but limited attention to history. Too much happens too rapidly, and before we can evaluate it, or exhaust its meaning or pleasure, there is something new to concern us. Ours is the tempo of the motion picture, not that of the still camera, and we waste experience as we wasted the forest.”

Ralph Ellison (1914–1994) American novelist, literary critic, scholar and writer

"The Golden Age, Time Past" (1959), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 239.

Pleasure , History

“They had a hi-fi phono, boy, did they let it blast
Seven hundred little records,
all rock, rhythm and jazz
But when the sun went down,
the rapid tempo of the music fell
"C'est la vie", say the old folks,
it goes to show you never can tell”

Chuck Berry (1926–2017) American rock-and-roll musician

"You Never Can Tell" (1964)
Song lyrics

Music , Boy , Sun

“Somebody will ask those of us who compose with the aid of computers: 'So you make all these decisions for the computer or the electronic medium but wouldn't you like to have a performer who makes certain other decisions?' Many composers don't mind collaborating with the performer with regards to decisions of tempo, or rhythm, or dynamics, or timbre, but ask them if they would allow the performer to make decisions with regard to pitch and the answer will be 'Pitches you don't change.' Some of us feel the same way in regard to the other musical aspects that are traditionally considered secondary, but which we consider fundamental. As for the future of electronic music, it seems quite obvious to me that its unique resources guarantee its use, because it has shifted the boundaries of music away from the limitations of the acoustical instrument, of the performer's coordinating capabilities, to the almost infinite limitations of the electronic instrument. The new limitations are the human ones of perception.”

Milton Babbitt (1916–2011) American composer

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

Music , Way , Feeling , Quotes

“Roger: Umm.. I don't know! It's kind of um.. a little more.. it's more in the darks of being really singy songy. It's nothing super blazing fast. There's not any super slow reggae kind of thing that we've done before. It's not like that. It's sort of in the tempo and sort of really poppy and really catchy. There's some really good stuff. There are some songs I'm really excited about. It's always been melody based I think. When we did our last record, we wrote like 32 songs and they ended coming out on two separate CDs. And this time we didn't really do that! We kind of just took 15 ideas and used those as the focal point and then we wrote around those and just improved on those 14 and kept bringing things in and out of those songs as opposed to having a whole bunch of songs. Whether that's better or not, I don't know. It definitely seems a bit more focused. We don't have a bunch of extra songs or anything like that. When is was time to actually record, we have everything pretty well sorted and that was cool. There's definitely some good stuff on there.”

Roger Manganelli (1973) American musician

Idea , Thinking , Time

“It is in tune with the tempo of life — scattered yet welded into the whole, — broken, yet woven together.”

William Carlos Williams (1883–1963) American poet

On his work, in an interview in The New York Herald Tribune (18 January 1932)
General sources

Life

“Let us take the time in this fast and ever-changing life which harasses us and tears us to pieces; to have the strength to remain slow and calm. To work outside the elements of disintegration that surrounds us. To comprehend life in it slow and calm sense. The work of art requires a temperate climate in order to develop fully. In this heightened tempo which is the law of life, to determine fixed points to hold onto them and to slowly work on the achievement of the future”

Fernand Léger (1881–1955) French painter

Fernand Léger – Das Figürliche Werk, exhibition catalogue, Köln, 1978, p. 52
Quotes of Fernand Leger, 1970's

Life , Law , Art , Sense

“I hope my recordings of my own works won't inhibit other people's performances. The brutal fact is that one doesn't always get the exact tempo one wants, although one improves with experience.”

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

Classic Essays on Twentieth-Century Music, ISBN 0028645812.

People , Hope

“Nietzsche is never boring. He is always interesting, exciting, thrilling, glittering, breathtaking. He possesses a kind of brilliance and tempo which I believe was unknown in former times.”

Leo Strauss (1899–1973) Classical philosophy specialist and father of neoconservativism

Seminar on Nietzsche's Beyond Good and Evil (1971–1972)

Time

“The beat must not be like a tyrannical hammer, impeding or urging on, but must be to the music what the pulse-beat is to the life of man. There is no slow tempo in which passages do not occur that demand a quicker motion, so as to obviate the impression of dragging. Conversely there is no presto that does not need a quiet delivery by many places, so as not to throw away the chance of expressiveness by hurrying… Neither the quickening nor the slowing of the tempo should ever give the impression of the spasmodic or the violent. The changes, to have a musical-poetic significance, must come in an orderly way in periods and phrases, conditioned by the varying warmth of the expression. We have in music no signs for all this. They exist only in the sentient soul. If they are not there, then there is no help to be had from the metronome – which obviates only the grosser errors – nor from these extremely imperfect precepts of mine.”

Carl Maria von Weber (1786–1826) German composer

quoted in Harold C. Schonberg, The Great Conductors (1981) ISBN 0671208349

Life , Music , Way , Error

“Since not even sufficient time for my main business remains to me. Production is taking a larger magnitude at a faster tempo, and can no longer wholly keep up with these children. They [very probably: his new art] issue forth.”

Paul Klee (1879–1940) German Swiss painter

Paul Klee to his son Felix Paul Klee, 29.12.1939; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html
1931 -1940

Children , Art , Business , Time

“I respect Kirkpatrick both for his sponges and for his numinous nummulosphere. It is easy to dismiss a crazy theory with laughter that debars any attempt to understand a man's motivation—and the nummulosphere is a crazy theory. I find that few men of imagination are not worth my attention. Their ideas may be wrong, even foolish, but their methods often repay a close study. […] The different drummer often beats a fruitful tempo.”

Stephen Jay Gould book The Panda's Thumb

"Crazy Old Randolph Kirkpatrick", p. 235
The Panda's Thumb (1980)

Men , Imagination , Motivation , Idea

“Little of the old establishment survives in modern industry: the emphasis is upon change and adaptability; the rate of change mounts to an increasing tempo. We have in fact passed beyond that stage of human organisation in which effective communication and collaboration were secured by established routines of relationship. For this change, physico-chemical and technical development are responsible. It is no longer possible for an industrial society to assume that the technical processes of manufacture will exist unchanged for long in any type of work. On the contrary, every industry is constantly seeking to change, not only its methods, but the very materials it uses; this development has been stimulated by the war.”

Elton Mayo (1880–1949) Australian academic

Source: The Social Problems of an Industrial Civilisation, 1945, p. 13; Partly cited in: Lyndall Urwick & Edward Brech (1949). The Making Of Scientific Management Volume III https://archive.org/stream/makingofscientif032926mbp#page/n241/mode/1up, p. 216

War , Communication , Change

“… the fact is, they are sculptures, since they show the relationship of object to object and that is the idea and purpose of a sculpture. I’ve got nothing against ‘poetry,’ but it’s only resonance and tempo. Each of my works is perhaps also indeed a poetic sculpture. It’s not that I think it’s a bad word, poetry, but I’m not a poet, since a poet is concerned with the relationship of human beings to human beings.”

Lawrence Weiner (1942) American artist

Gerti Fietzek, Gregor Stemmrich. Having been said: writings & interviews of Lawrence Weiner, 1968-2003, Hatje Cantz, 2004. p. 158

Idea , Thinking

“So, if you played a C major chord to pretty much any person on the planet, they'd say that it sounds "harmonious" (or pleasing, or happy, etc, etc). But now when you want to put chords and melodies in an ordering and make a larger piece called a "song", then that is a much more difficult process, and gets very subjective. At that point, it's not just the chords, it's the lyrics, rhythms, instrumentation, tempo, intensity, any number of other things that goes into a song… so many variables that it's almost impossible to predict how a song will affect a given person.”

Andrew Sega (1975) musician from America

Andrew Sega Shrine interview, 2011

Personality , Happiness

“A neurosurgeon once told me about operating on the brain of a young man with epilepsy. As is customary in this kind of operation, the patient was wide awake, under only local anesthesia, while the surgeon delicately explored his exposed cortex, making sure that the parts tentatively to be removed were not absolutely vital by stimulating them electrically and asking the patient what he experienced. Some stimulations provoked visual flashes or hand-raisings, others a sort of buzzing sensation, but one spot produced a delighted response from the patient: "It's 'Outta Get Me' by Guns N'Roses, my favorite heavy metal [sic] band!"I asked the neurosurgeon if he had asked the patient to sing or hum along with the music, since it would be fascinating to learn how "high fidelity" the provoked memory was. Would it be in exactly the same key and tempo as the record? Such a song (unlike "Silent Night") has one canonical version, so we could simply have superimposed a recording of the patient's humming with the standard record and compare the results. Unfortunately, even though a tape recorder had been running during the operation, the surgeon hadn't asked the patient to sing along. "Why not?" I asked, and he replied: "I hate rock music!"Later in the conversation the neurosurgeon happened to remark that he was going to have to operate again on the same young man, and I expressed the hope that he would just check to see if he could restimulate the rock music, and this time ask the fellow to sing along. "I can't do that," replied the neurosurgeon, "since I cut out that part." "It was part of the epileptic focus?"”

Daniel Dennett book Consciousness Explained

I asked, and he replied, "No, I already told you — I hate rock music."</p>
Source: Consciousness Explained (1991), p. 58-59

Hate , Hope , Music , Learning

“There was a daily exchange of courtesies between our machine guns and the Germans' at stand-to; by removing cartridges from the ammunition-belt one could rap out the rhythm of the familiar prostitutes' call: "MEET me DOWN in PICC-a-DILL-y", to which the Germans would reply, though in slower tempo, because our guns were faster than theirs: "YES, with-OUT my DRAWERS ON!"”

Robert Graves (1895–1985) English poet and novelist

Source: Goodbye to All That (1929), Ch.16.

“It is essential that a pianist meticulously observe the composer’s indications regarding tempo, dynamics, and articulation. These are all crucial in creating full characterizations of individual themes and passages. Far too often one hears unidiomatic performances of Prokofiev’s music in which speed and loudness seem to be the only parameters that matter to the pianist.”

Boris Berman (1948) Russian/American musician

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

Music , Speed

“The economic dictatorship of the monopolies and the political dictatorship of the totalitarian state are the outgrowth of the same political objectives, and the directors of both have the presumption to try to reduce all the countless expressions of social life to the mechanical tempo of the machine and to tune everything organic to the lifeless machine of the political apparatus.”

Rudolf Rocker book Anarcho-Syndicalism

Source: Anarcho-Syndicalism (1938), Ch. 1 "Anarchism: Its Aims and Purposes"
Context: The economic dictatorship of the monopolies and the political dictatorship of the totalitarian state are the outgrowth of the same political objectives, and the directors of both have the presumption to try to reduce all the countless expressions of social life to the mechanical tempo of the machine and to tune everything organic to the lifeless machine of the political apparatus. Our modern social system has split the social organism in every country into hostile classes internally, and externally it has broken the common cultural circle up into hostile nations; and both classes and nations confront one another with open antagonism and by their ceaseless warfare keep the communal social life in continual convulsions.

Life

“There was no placid regimented tempo to Taps. The notes rose high in the air and hung above the quadrangle.”

James Jones book From Here to Eternity

Robert E. Lee Prewitt playing Taps
From Here to Eternity (1951)
Context: He looked at his watch and as the second hand touched the top stepped up and raised the bugle to the megaphone, and the nervousness dropped from him like a discarded blouse, and he was suddenly alone, gone away from the rest of them.
The first note was clear and absolutely certain. There was no question or stumbling in this bugle. It swept across the quadrangle positively, held just a fraction longer than most buglers hold it. Held long like the length of time, stretching away from weary day to weary day. Held long like thirty years. The second note was short, almost too abrupt. Cut short and soon gone, like the minutes with a whore. Short like a ten minute break is short. And then the last note of the first phrase rose triumphantly from the slightly broken rhythm, triumphantly high on an untouchable level of pride above the humiliations, the degradations.
He played it all that way, with a paused then hurried rhythm that no metronome could follow. There was no placid regimented tempo to Taps. The notes rose high in the air and hung above the quadrangle. They vibrated there, caressingly, filled with an infinite sadness, an endless patience, a pointless pride, the requiem and epitaph of the common soldier, who smelled like a common soldier, as a woman had once told him. They hovered like halos over the heads of sleeping men in the darkened barracks, turning all the grossness to the beauty that is the beauty of sympathy and understanding. Here we are, they said, you made us, now see us, dont close your eyes and shudder at it; this beauty, and this sorrow, of things as they are.

“Five years ago, even the most audacious visionary would not have dared predict the slashing do-or-de desperation and the sizzling up-tempo beat which has exploded into our politics, into our daily conversation, and into our nightmares and dreams.”

Eldridge Cleaver (1935–1998) American activist

"Rallying Round the Flag"
1960s, Soul on Ice (1968)

Dreams

“I’d go for Scholesy as the club’s greatest ever player. I’ve seen him do things that no other player can do. The way he can control the tempo of games, and his range of passing, are both incredible. We’ve seen over the years that players just haven’t been able to get near him. And you can’t forget his goals either.”

Paul Scholes (1974) English footballer

http://www.talksport.co.uk/sports-news/football/premier-league/4935/9/giggs-hails-scholes-man-uniteds-greatest-ever-player
Ryan Giggs, 2011

Way , Forgetting , Game