Choir Master Quotes

I heard the universe as an oratorio sung by a master choir of stars, accompanied by the orchestra of the planets and the percussion of satellites and moons. The aria they performed was a song to break the heart, full of tragic dissonance and deferred hope, and yet somewhere beneath it all was a piercing refrain of glory, glory, glory. And I sensed that not only the grand movements of the cosmos, but everything that had happened in my life, was a part of that song. Even the hurts that seemed most senseless, the mistakes I would have done anything to erase--nothing could make those things good, but good could still come out of them all the same, and in the end the oratorio would be no less beautiful for it.

Here sighs and cries and shrieks of lamentation echoed throughout the starless air of Hell; at first these sounds resounding made me weep: tongues confused, a language strained in anguish with cadences of anger, shrill outcries and raucous groans that joined with sounds of hands, raising a whirling storm that turns itself forever through that air of endless black, like grains of sand swirling when a whirlwind blows. And I, in the midst of all this circling horror, began, "Teacher, what are these sounds I hear? What souls are these so overwhelmed by grief?" And he to me: "This wretched state of being is the fate of those sad souls who lived a life but lived it with no blame and with no praise. They are mixed with that repulsive choir of angels neither faithful nor unfaithful to their God, who undecided stood but for themselves. Heaven, to keep its beauty, cast them out, but even Hell itself would not receive them, for fear the damned might glory over them." And I. "Master, what torments do they suffer that force them to lament so bitterly?" He answered: "I will tell you in few words: these wretches have no hope of truly dying, and this blind life they lead is so abject it makes them envy every other fate. The world will not record their having been there; Heaven's mercy and its justice turn from them. Let's not discuss them; look and pass them by...

I am one beautiful and powerful son of a bitch,' he told himself. 'Smart as a whip, respected, prosperous, beloved and valuable. I have the right to be healthy, happy and rich, for I am the baddest player in this arena or any other. I love myself more than I love money and pretty women and fine clothes. I love myself more than I love neat gardens and healthy babies and a good gospel choir. I love myself as I love The Law. I love myself in error and in correctness, waking or sleeping, sneezing, tipsy, or fabulously brilliant I love myself doing the books or sitting down to a good game of poker. I love myself making love expertly, or tenderly and shyly, or clumsily and inept. I love myself as I love The Master's Mind,' he continued his litany, having long ago stumbled upon the prime principle as a player--that self-love produces the gods and the gods are genius. It took genius to run the Southwest Community Infirmary. So he made the rounds of his hospital the way he used to make the rounds of his houses to keep the tops spinning, reciting declarations of self-love.

Digital synchronization occurs when all parts of the choir sing their respective parts in harmony.

Digital synchronization and strategic alignment occur when all parts of the choir sing their respective parts in harmony to achieve a higher purpose.

Master of His Choir of Angels, that is Mozart; but Beethoven is the Master of My Dark Heart, the captain of my broken life and all my failures.

Disillusioned words like bullets bark As human gods aim for their marks Made everything from toy guns that sparks To flesh-colored Christs that glow in the dark It's easy to see without looking too far That not much Is really sacred. While preachers preach of evil fates Teachers teach that knowledge waits Can lead to hundred-dollar plates Goodness hides behind its gates But even the President of the United States Sometimes must have To stand naked. An' though the rules of the road have been lodged It's only people's games that you got to dodge And it's alright, Ma, I can make it. Advertising signs that con you Into thinking you're the one That can do what's never been done That can win what's never been won Meantime life outside goes on All around you. Although the masters make the rules For the wise men and the fools I got nothing, Ma, to live up to. For them that must obey authority That they do not respect in any degree Who despite their jobs, their destinies Speak jealously of them that are free Cultivate their flowers to be Nothing more than something They invest in. While some on principles baptized To strict party platforms ties Social clubs in drag disguise Outsiders they can freely criticize Tell nothing except who to idolize And then say God Bless him. While one who sings with his tongue on fire Gargles in the rat race choir Bent out of shape from society's pliers Cares not to come up any higher But rather get you down in the hole That he's in. Old lady judges, watch people in pairs Limited in sex, they dare To push fake morals, insult and stare While money doesn't talk, it swears Obscenity, who really cares Propaganda, all is phony. While them that defend what they cannot see With a killer's pride, security It blows the minds most bitterly For them that think death's honesty Won't fall upon them naturally Life sometimes Must get lonely. And if my thought-dreams could been seen They'd probably put my head in a guillotine But it's alright, Ma, it's life, and life only.

I'd finally reached the end of myself, all my self-reliance and denial and pride unraveling into nothingness, leaving only a blank Alison-shaped space behind. It was finished. I was done. But just as I felt myself dissolving on the tide of my own self-condemnation, the dark waves receded, and I floated into a celestial calm. I saw the whole universe laid out before me, a vast shining machine of indescribable beauty and complexity. Its design was too intricate for me to understand, and I knew I could never begin to grasp more than the smallest idea of its purpose. But I sensed that every part of it, from quark to quasar, was unique and - in some mysterious way - significant. I heard the universe as an oratorio sung by a master choir of stars, accompanied by the orchestra of the planets and the percussion of satellites and moons. The aria they performed was a song to break the heart, full of tragic dissonance and deferred hope, and yet somewhere beneath it all was a peircing refrain of glory, glory, glory. And I sensed that not only the grand movements of the cosmos, but everything that had happened in my life, was a part of that song. Even the hurts that seemed most senseless, the mistakes I would have done anything to erase - nothing could make those things good, but good could still come out of them all the same, and in the end the oratorio would be no less beautiful for it. I realized then that even though I was a tiny speck in an infinite cosmos, a blip on the timeline of eternity, I was not without purpose. And as long as I had a part in the music of the spheres, even if it was only a single grace not, I was not worthless. Nor was I alone. God help me, I prayed as I gathered up my raw and weary sense, flung them into the wormhole - And at last, found what I'd been looking for.

But it was in the life-saving competition that Stanley Judkins's conduct was most blameable and had the most far-reaching effects. The practice, as you know, was to throw a selected lower boy, of suitable dimensions, fully dressed, with his hands and feet tied together, into the deepest part of Cuckoo Weir, and to time the Scout whose turn it was to rescue him. On every occasion when he was entered for this competition Stanley Judkins was seized, at the critical moment, with a severe fit of cramp, which caused him to roll on the ground and utter alarming cries. This naturally distracted the attention of those present from the boy in the water, and had it not been for the presence of Arthur Wilcox the death-roll would have been a heavy one. As it was, the Lower Master found it necessary to take a firm line and say that the competition must be discontinued. It was in vain that Mr. Beasley Robinson represented to him that in five competitions only four lower boys had actually succumbed. The Lower Master said that he would be the last to interfere in any way with the work of the Scouts; but that three of these boys had been valued members of his choir, and both he and Dr. Ley felt that the inconvenience caused by the losses outweighed the advantages of the competitions. Besides, the correspondence with the parents of these boys had become annoying, and even distressing: they were no longer satisfied with the printed form which he was in the habit of sending out, and more than one of them had actually visited Eton and taken up much of his valuable time with complaints. So the life-saving competition is now a thing of the past.

SOMETIMES ON A PORCH in June, a girl begins to plunk her banjo; and after a spell of stillness, while the sound travels down their ear crinkles into their inmost feeling-chambers, the music starts to dance the people passing by. They toss like puppets on a bouncing sheet; like boys without a boat; they swing like weeds in the wind; they leap heptangularly about, dancing eccentric saltarellos, discovering that their springs are not so rusty. For even if you have built masterful aspen castles in your mind, have toppled whole forests to throttle the writhing elements into a liveably serene personal pond; if you have longtime sculled your ingenious fins to withstand the tumble-crazy currents; there is music that will dissolve your anchors, your sanctuaries, floating you off your feet, fetching you away with itself. And then you are a migrant, and then you are amuck; and then you are the music’s toy, juggled into its furious torrents, jostled into its foamy jokes, assuming its sparklyblue or greenweedy or brownmuddy tinges, being driven down to the dirgy bottom where rumble-clacking stones are lit by waterlogged and melancholy sunlight, warping back up to the surface, along with yew leaves and alewives and frog bones and other strange acquisitions snagged and rendered willy-nilly by the current, straggling away on its rambling cadenzas, with ever-changing sights—freckled children on the bank, chicken choirs, brewing thunderclouds, june bugs perched in wild parsley—until it spills you into a place whose dimensions make nonsense of your heretofore extraordinary spatial intelligence.

In the same way that very young children can master new language, the earlier they are taught to read music, the better. When they can read well, they receive enormous personal satisfaction and can be much more effective in the rehearsal.

The master of ceremonies was "Cactus" Pryor, "the George Jessel of Texas"; he apologized to the chancellor "because they had been unable to find a way to barbecue sauerkraut." There was a Mexican mariachi band, square dances by the Billyettes, a precision dance team (not all that precise) from Fredericksburg High School and then the German carols sung by cowgirls - the St. Mary's High School choir in full cowgirl regalia: Stetsons, blue skirts, white blouses and red neckerchiefs - under the direction of a nun in head-to-tie black habit. They closed with "Deep in the Heart of Texas" - and that was in German, too. "Die Sterne bei Nacht sind gross und klar / Tief in das Herz von Texas..." After each couplet, the traditional four Texas claps. At the conclusion, a cowboy yell, echoed by the audience. Only after that did the explanation for the grand piano appear: tull, curly-haired Van Cliburn of Fort Worth, whom newspapers had been calling "the pride of Texas" ever since his victory in 1958 in the first International Tchaikovsky Competition in Moscow. The thunderous chords of the young virtuoso's selections from Beethoven, Brahms and other German composers filled the rickety little building.

Not coincidentally, there is something reminiscent of a minister and his flock, or perhaps a choir leader and his singers, in the final effect. Even the yoke of the Master’s robe matches that of a man of the pulpit. After

He’s not even singing,” Tobin whispers to Daphne. They sit on the other side of the half circle of chairs in the music room. It’s amusing that he thinks I don’t know what he’s saying. I can’t actually hear their words over the singing, but I have spent the weekend mastering the art of lipreading. What isn’t amusing, however, is that Tobin has caught on to the fact that I’m merely moving my own lips along with the rest of the choir. Daphne looks up at me. I stare down at the songbook in my hands. Maybe I should try singing along, but I don’t know how to make my voice do what hers does, even if I want to. I feel her gaze leave me and I glance back at her. “Maybe he’s just intimidated,” Daphne says. “It’s his first day in the program.” My hands grow hot at the idea that she thinks I am afraid. I take a deep breath, tempering myself before I set the songbook on fire.

They had a sweety-sweet picture of Jesus over the choir booths that I didn't like at all. Jesus looked like he was a Boy Scout, waiting to get his twenty-first merit badge from the head Scout Master.

He headed in the general direction of the treatment room, feeling that familiar wave of energy surge through him. In another minute, he sensed, he would generate enough energy to found a dynasty, lift a truck, start a war, light up the whole of Clayborne for a week. “I am one beautiful and powerful son of a bitch,” he told himself. “Smart as a whip, respected, prosperous, beloved and valuable. I have the right to be healthy, happy and rich, for I am the baddest player in this arena or any other. I love myself more than I love money and pretty women and fine clothes. I love myself more than I love neat gardens and healthy babies and a good gospel choir. I love myself as I love The Law. I love myself in error and in correctness, waking or sleeping, sneezing, tipsy, or fabulously brilliant. I love myself doing the books or sitting down to a good game of poker. I love myself making love expertly, or tenderly and shyly, or clumsily and inept. I love myself as I love The Master’s Mind,” he continued his litany, having long ago stumbled upon the prime principle as a player—that self-love produces the gods and the gods are genius. It took genius to run the Southwest Community Infirmary. So he made the rounds of his hospital the way he used to make the rounds of his houses to keep the tops spinning, reciting declarations of self-love.

Mozart was always my happy guardian, the Little Genius, I called him, Master of His Choir of Angels, that is Mozart; but Beethoven is the Master of My Dark Heart, the captain of my broken life and all my failures.

When you have a lot of people singing without any organ accompaniment, there is a constant tendency for the note to drop all the time; it gets lower and lower as it goes on. And therefore, when the choir isn’t accustomed to singing without accompaniment, every now and then the choir-master, who has a pitch-pipe concealed on his person, gives a little ‘toot’ in the background, to remind them of the higher note which they ought to be taking, and aren’t. And, you see, we are rather like that. We go on living from day to day without thinking much about how we are living, or what we are here for, or whether the things that chiefly interest us are really worth living for; and we get accustomed to our sins, and feel vaguely that it is a pity we go on committing them, but after all, there doesn’t seem to be much chance of our stopping; and our prayers get very languid and washed out, and we think of very little except our food and our amusements – do you see what I mean? All the time, the note on which our lives are lived is dropping, dropping, till it’s ready to die away into our boots, and we don’t notice, just as the choir doesn’t notice when the note drops. So we want that sudden little ‘toot’ of the pitch-pipe, to pull us together and screw the note of our lives up again. And the pitch-pipe we use ... is meditation on Our Lord’s Passion.[791

Plotinus (A.D. 205-270) was not a Christian, but his influence on Christian mystics was enormous; he compared human beings to the choir standing around a choir master but with their attention distracted by things going on about them, so they fail to sing in tune or in time. He held that creation was a series of steps leading away from the One (or God); he called those steps emanations. (The Kabbalists later borrowed his ideas, as William Blake was to borrow from the Kabbalah.) This is definitely a non-Christian view, for Plotinus’s evil is a negative thing, depending upon how many steps you have taken away from the One; it is like someone walking away from a lighted house at night, moving further into the darkness of the garden. But why should people walk away, unless tempted by the Devil? Because, says Plotinus, we are empty-headed, and easily distracted. The philosopher is the man who determinedly ignores distractions and multiplicity, and tries to see back towards the One. ‘Such,’ he concludes, ‘is the life of gods and of godlike men; a liberation from all earthly bonds, a life that takes no pleasure in earthly things, a flight of the alone to the alone.

Yin Lan-lan had written, “As one of its victims, I denounce the revisionist educational system. Being from a working-class family, I have to do a lot more housework than students from rich families. So I have difficulty passing exams. I was forced to repeat grades three times. And I was not allowed to be a Young Pioneer or to participate in the school choir. The teachers think only of grades when evaluating a student. They forget that we, the working class, are the masters of our socialist country.