“An audience is an abstraction; it has no taste. It must depend on the only person who has (pardon, should have), the conductor.”

Silence, which will save from shame, will also deprive me of fame.

Too many pieces of music finish too long after the end.

My childhood was a period of waiting for the moment when I could send everyone and everything connected with it to hell.

A good composer does not imitate; he steals.

I had another dream the other day about music critics. They were small and rodent-like with padlocked ears, as if they had stepped out of a painting by Goya.

Nothing is likely about masterpieces, least of all whether there will be any.

I haven’t understood a bar of music in my life, but I have felt it.

Film music should have the same relationship to the film drama that somebody’s piano playing in my living room has on the book I am reading.

Lesser artists borrow, great artists steal.

Composers combine notes, that’s all.

Music’s exclusive function is to structure the flow of time and keep order in it.

Mediocrity borrows, genius steals.

The profound meaning of music’s essential aim, is to produce a communion, a union of man with his fellow man with the Supreme Being.

I never understood the need for a “live” audience. My music, because of its extreme quietude, would be happiest with a dead one.

What gives the artist real prestige is his imitators.

There is music wherever there is rhythm, as there is life wherever there beats a pulse.

Happiness is an abstraction, it is a product of the imagination, it is a way of being moved, which depends entirely on our way of seeing and feeling.

We are so much the victims of abstraction that with the Earth in flames we can barely rouse ourselves to wander across the room and look at the thermostat.

All war propaganda consists, in the last resort, in substituting diabolical abstractions for human beings. Similarly, those who defend war have invented a pleasant sounding vocabulary of abstractions in which to describe the process of mass murder.

The country of the tourist pamphlet always is another country, an embarrassing abstraction of the desirable that, thank God, does not exist on this planet, where there are always ants and bad smells and empty Coca-Cola bottles to keep the grubby finger-print of reality upon the beautiful.

Our love story comes to me in waves, in movie stills and long summer afternoons spent under a sky of incessant blue. I still think of your eyes in flashes of color, your hands in a frenetic, feverish blur-your smile a mosaic of light and shadow. I still find myself lost in those moments of abstraction.

Everything will be all right – you know when? When people, just people, stop thinking of the United Nations as a weird Picasso abstraction and see it as a drawing they made themselves.

New York is a city of geometric heights, a petrified desert of grids and lattices, an inferno of greenish abstraction under a flat sky, a real Metropolis from which man is absent by his very accumulation.

The only and one way to say what abstract art or art-as-art is, is to say what it is not.