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.
Arthur V. Berger commenting on the music of Aaron Copland: Here is at last an American that we may place unapologetically beside the great recognized creative figures of any other country.
When I speak of the gifted listener, I am thinking of the nonmusician primarily, of the listener who intends to retain his amateur status. It is the thought of just such a listener that excites the composer in me.
If one were asked to name one musician who came closest to composing without human flaw, I suppose general consensus would choose Johann Sebastian Bach.
This whole problem can be stated quite simply by asking, “Is there a meaning to music?” My answer to that would be, “Yes.” And “Can you state in so many words what the meaning is?” My answer to that would be, “No.”
The whole problem can be stated quite simply by asking “Is there a meaning to music?” My answer would be, “Yes”, And “Can you state in so many words what the meaning is?” My answer to that would be “No.”
You may feel depressed, but it can’t be so depressing that you can’t move. No, I would say that people create in moments when they are elated about expressing their depression!
You compose because you want to somehow summarize in some permanent form your most basic feelings about being alive, to set down some sort of permanent statement about the way it feels to live now, today.
Inspiration may be a form of superconsciousness, or perhaps of subconsciousness – I wouldn’t know. But I am sure it is the antithesis of self-consciousness.
Most people use music as a couch; they want to be pillowed on it, relaxed and consoled for the stress of daily living. But serious music was never meant to be soporific.
