Classical Composers Quotes

Everything we do is music." (Classical Composer)(From: 4'33")

A great ancient poet was blind. A great classical composer was deaf. Many of us are dumb. What have we to show for it?

There is nothing for it but for all of us to invent our own ideal libraries of classics. I would say that such a library ought to be composed half of books we have read and that have really counted for us, and half of books we propose to read and presume will come to count—leaving a section of empty shelves for surprises and occasional discoveries

Only classical composers were known by just their surnames, and this suited my mudlark temperament quite nicely.

When I wrote the previous letter, I had made up my mind I would show you how I could be very composed and cool and not need to ask you to listen to me nor to explain anything to me nor need any help. By telling you that all this about the multiple personalities was not really true but just put on, I could show, or so I thought, that I did not need you. Well, it would have been easier if it were put on.

We are composed of the same energy and quanta of that which composes everything. We are co-composers of the universe; thinkers of the only mind that thinks. Co-creators with the God that is creating us.

Shani smiled even more beautifully and Dandilion was once more filled with the desire to finally compose a ballad about girls like her – not too pretty but nonetheless beautiful, girls of whom one dreams at night when those of classical beauty are forgotten after five minutes.

I have never seen a more sublime demonstration of the totalitarian mind, a mind which might be linked unto a system of gears where teeth have been filed off at random. Such snaggle-toothed thought machine, driven by a standard or even by a substandard libido, whirls with the jerky, noisy, gaudy pointlessness of a cuckoo clock in Hell. The boss G-man concluded wrongly that there were no teeth on the gears in the mind of Jones. 'You're completely crazy,' he said. Jones wasn't completely crazy. The dismaying thing about classic totalitarian mind is that any given gear, thought mutilated, will have at its circumference unbroken sequences of teeth that are immaculately maintained, that are exquisitely machined. Hence the cuckoo clock in Hell - keeping perfect time for eight minutes and twenty-three seconds, jumping ahead fourteen minutes, keeping perfect time for six seconds, jumping ahead two seconds, keeping perfect time for two hours and one second, then jumping ahead a year. The missing teeth, of course, are simple, obvious truths, truths available and comprehensible even to ten-year-olds, in most cases. The wilful filling off a gear teeth, the wilful doing without certain obvious pieces of information - That was how a household as contradictory as one composed of Jones, Father Keeley, Vice-Bundesfuehrer Krapptauer, and the Black Fuehrer could exist in relative harmony - That was how my father-in-law could contain in one mind an indifference toward slave women and love fora a blue vase - That was how Rudolf Hess, Commandant of Auschwitz, could alternate over the loudspeakers of Auschwitz great music and calls for corpse-carriers - That was how Nazi Germany sense no important difference between civilization and hydrophobia - That is the closest I can come to explaining the legions, the nations of lunatics I've seen in my time.

The world is composed of lies. Starting from a kid’s cute lie, a teen’s white lie, a youth’s smart lie, it grows older with us, romantic lies as a couple, effusive lies as a parent and unavoidable lies at old age. Lies are beautiful, lies are awkward. Lies are stupid, lies are witty. Everyone is a classical composer and lifetime listener of lies.

Whenever i find myself losing faith in humanity, i come back to the classical music. They are a great reminder that we are also able to produce beautiful things made out of strong and barely controllable emotions.

Beethoven introduced us to anger. Haydn taught us capriciousness, Rachmaninoff melancholy. Wagner was demonic. Bach was pious. Schumann was mad, and because his genius was able to record his fight for sanity, we heard what isolation and the edge of lunacy sounded like. Liszt was lusty and vigorous and insisted that we confront his overwhelming sexuality as well as our own. Chopin was a poet, and without him we never would have understood what night was, what perfume was, what romance was.

It is so much more threatening to have something out of hand than to believe that at any moment I can stop (I started to say "This foolishness") any time I need to. When I wrote the previous letter, I had made up my mind I would show you how I could be very composed and cool and not need to ask you to listen to me nor to explain anything to me nor need any help. By telling you that all this about the multiple personalities was not really true but just put on, I could show, or so I thought, that I did not need you. Well, it would have been easier if it were put on. But the only ruse of which I'm guilty is to have pretended for so long before coming to you that nothing was wrong. Pretending that the personalities did not exist has now caused me to lose about two days. Three weeks later Sybil reaffirmed her belief in the existence of her other selves in a letter to Miss Updyke, the school nurse of undergraduate days.

After writing the letter Sybil lost almost two days. "Coming to," she stumbled across what she had written just before she had dissociated and wrote to Dr. Wilbur as follows: It's just so hard to have to feel, believe, and admit that I do not have conscious control over my selves. It is so much more threatening to have something out of hand than to believe that at any moment I can stop (I started to say "This foolishness") any time I need to. When I wrote the previous letter, I had made up my mind I would show you how I could be very composed and cool and not need to ask you to listen to me nor to explain anything to me nor need any help. By telling you that all this about the multiple personalities was not really true I could show, or so I thought, that I did not need you. Well, it would be easier if it were put on. But the only ruse of which I'm guilty is to have pretended for so long before coming to you that nothing was wrong. Pretending that the personalities did not exist has now caused me to lose about two days.

History's greatest composers world be rolling in their graves if they knew that their beautiful compositions were reduced to distorted hold music.

If you are going to hear the work of the world’s greatest composers, you will have to allow for a little murder here and there. […] Those who want justice can go to the police, but those who want something a little more interesting should go to the orchestra!

Concert pianists get to be quite chummy with dead composers. They can't help it. Classical music isn't just music. It's a personal diary. An uncensored confession in the dead of night. A baring of the soul. Take a modern example. Florence and the Machine? In the song 'Cosmic Love,' she catalogs the way in which the world has gone dark, distorting her, when she, a rather intense young woman, was left bereft by a love affair. 'The stars, the moon, they have all been blown out.

Bowman was aware of some changes in his behavior patterns; it would have been absurd to expect anything else in the circumstances. He could no longer tolerate silence; except when he was sleeping, or talking over the circuit to Earth, he kept the ship's sound system running at almost painful loudness. / At first, needing the companionship of the human voice, he had listened to classical plays--especially the works of Shaw, Ibsen, and Shakespeare--or poetry readings from Discovery's enormous library of recorded sounds. The problems they dealt with, however, seemed so remote, or so easily resolved with a little common sense, that after a while he lost patience with them. / So he switched to opera--usually in Italian or German, so that he was not distracted even by the minimal intellectual content that most operas contained. This phase lasted for two weeks before he realized that the sound of all these superbly trained voices was only exacerbating his loneliness. But what finally ended this cycle was Verdi's Requiem Mass, which he had never heard performed on Earth. The "Dies Irae," roaring with ominous appropriateness through the empty ship, left him completely shattered; and when the trumpets of Doomsday echoed from the heavens, he could endure no more. / Thereafter, he played only instrumental music. He started with the romantic composers, but shed them one by one as their emotional outpourings became too oppressive. Sibelius, Tchaikovsky, Berlioz, lasted a few weeks, Beethoven rather longer. He finally found peace, as so many others had done, in the abstract architecture of Bach, occasionally ornamented with Mozart. / And so Discovery drove on toward Saturn, as often as not pulsating with the cool music of the harpsichord, the frozen thoughts of a brain that had been dust for twice a hundred years.

That same brutal principle of unequal distribution applies outside the financial domain— indeed, anywhere that creative production is required. The majority of scientific papers are published by a very small group of scientists. A tiny proportion of musicians produces almost all the recorded commercial music. Just a handful of authors sell all the books. A million and a half separately titled books (!) sell each year in the US. However, only five hundred of these sell more than a hundred thousand copies. 12 Similarly, just four classical composers (Bach, Beethoven, Mozart, and Tchaikovsky) wrote almost all the music played by modern orchestras. Bach, for his part, composed so prolifically that it would take decades of work merely to hand- copy his scores, yet only a small fraction of this prodigious output is commonly performed.

I composed it myself!" said the Fiddler Crab. "But it's highly classical, I admit. All really great music is an acquired taste.

I am into classical music, in fact,” I say. “It’s been around for more than a thousand years, its composers have more name recognition than whatever ‘indie’ music you’re listening to right now, and symphonies sell out millions of performances a year. So go ahead, tell me classical music is tedious or boring or inferior.

goddess who is barely mentioned in any ancient source, who makes no dent on the Renaissance, who has inspired virtually no classical composers, no modern artists, nor even any philhellenic sci-fi writers to create work inspired by her?

Dandilion was once more filled with the desire to finally compose a ballad about girls like her – not too pretty but nonetheless beautiful, girls of whom one dreams at night when those of classical beauty are forgotten after five minutes.

Mr. Blake idly turned over the books on his bedroom table. I had taken the precaution of looking at them, when we first entered the room. THE GUARDIAN; THE TATLER; Richardson's PAMELA; Mackenzie's MAN OF FEELING; Roscoe's LORENZO DE MEDICI; and Robertson's CHARLES THE FIFTH—all classical works; all (of course) immeasurably superior to anything produced in later times; and all (from my present point of view) possessing the one great merit of enchaining nobody's interest, and exciting nobody's brain. I left Mr. Blake to the composing influence of Standard Literature, and occupied myself in making this entry in my journal.

In every field, even the most eminent creators typically produce a large quantity of work that’s technically sound but considered unremarkable by experts and audiences. When the London Philharmonic Orchestra chose the 50 greatest pieces of classical music, the list included six pieces by Mozart, five by Beethoven, and three by Bach.14 To generate a handful of masterworks, Mozart composed more than 600 pieces before his death at thirty-five, Beethoven produced 650 in his lifetime, and Bach wrote over a thousand.

The Louis XIII style in perfumery, composed of the elements dear to that period - orris-powder, musk, civet and myrtle-water, already known by the name of angel-water - was scarcely adequate to express the cavalierish graces, the rather crude colours of the time which certain sonnets by Saint-Amand have preserved for us. Later on, with the aid of myrrh and frankincense, the potent and austere scents of religion, it became almost possible to render the stately pomp of the age of Louis XIV, the pleonastic artifices of classical oratory, the ample, sustained, wordy style of Bossuet and the other masters of the pulpit. Later still, the blase, sophisticated graces of French society under Louis XV found their interpreters more easily in frangipane and marechale, which offered in a way the very synthesis of the period. And then, after the indifference and incuriosity of the First Empire, which used eau-de-Cologne and rosemary to excess, perfumery followed Victor Hugo and Gautier and went for inspiration to the lands of the sun; it composed its own Oriental verses, its own highly spiced salaams, discovered intonations and audacious antitheses, sorted out and revived forgotten nuances which it complicated, subtilized and paired off, and in short resolutely repudiated the voluntary decrepitude to which it had been reduced by its Malesherbes, its Boileaus, its Andrieux, its Baour-Lormians, the vulgar distillers of its poems.

A universe of classical particles is devoid of knowledge because the universe can only be itself and not a representation of something else. If the universe was only composed of classical particles, then there would only be physical properties but no meanings. The idea that we can have information about an object without becoming that object is central to all knowledge.

Even if you cannot fully match my skill at composing verses,” he said, “yet be of good cheer. Remember that it is granted to the poets to drink from the largest horn at the banquet of the gods.

There was that sound again--snap, then a footfall. She tried to whirl around as a dark form--Dear God--sprang with a splash from the darkness--grabbed her from behind, shoved her under the water.

Second: them poor things well out o' this, and never no more will I interfere with Mrs. Cruncher's flopping, never no more!" "Whatever housekeeping arrangement that may be," said Miss Pross, striving to dry her eyes and compose herself, "I have no doubt it is best that Mrs. Cruncher should have it entirely under her own superintendence.—O my poor darlings!" "I go so far as to say, miss, moreover," proceeded Mr. Cruncher, with a most alarming tendency to hold forth as from a pulpit—"and let my words be took down and took to Mrs. Cruncher through yourself—that wot my opinions respectin' flopping has undergone a change, and that wot I only hope with all my heart as Mrs. Cruncher may be a flopping at the present time." "There, there, there! I hope she is, my dear man," cried the distracted Miss Pross, "and I hope she finds it answering her expectations.

Apollodorus, the leading classical authority on Greek myths, records a tradition that the real scene of the poem was the Sicilian seaboard, and in 1896 Samuel Butler, the author of Erewhon, came independently to the same conclusion. He suggested that the poem, as we now have it, was composed at Drepanum, the modern Trapani, in Western Sicily, and that the authoress was the girl self-portrayed as Nausicaa. None of his classical contemporaries, for whom Homer was necessarily both blind and bearded, deigned to pay Butler’s theory the least attention; and since he had, as we now know, dated the poem some three hundred years too early and not explained how a Sicilian princess could have passed off her saga as Homer’s, his two books on the subject are generally dismissed as a good-humoured joke. Nevertheless, while working on an explanatory dictionary of Greek myths, I found Butler’s arguments for a Western Sicilian setting and for a female authorship irrefutable. I could not rest until I had written this novel. It re-creates, from internal and external evidence, the circumstances which induced Nausicaa to write the Odyssey, and suggest how, as an honorary Daughter of Homer, she managed to get it included in the official canon. Here is the story of a high-spirited and religious-minded Sicilian girl who saves her father’s throne from usurpation, herself from a distasteful marriage, and her two younger brothers from butchery by boldly making things happen, instead of sitting still and hoping for the best.

The human attitude of which classical music is the expression is always the same; it is always based on the same kind of insight into life and strives for the same kind of victory over blind chance. Classical music as gesture signifies knowledge of the tragedy of the human condition, affirmation of human destiny, courage, cheerful serenity. The grace of a minuet by Handel or Couperin, the sensuality sublimated into delicate gesture to be found in many Italian composers or in Mozart, the tranquil, composed readiness for death in Bach – always there may be heard in these works a defiance, a death-defying intrepidity, a gallantry, and a note of superhuman laughter, of immortal gay serenity. Let that same note also sound in our Glass Bead Games, and in our whole lives, acts, and sufferings.

Shani smiled even more beautifully and Dandelion was once more filled with the desire to finally compose a ballad about girls like her—not too pretty but nonetheless beautiful, girls of whom one dreams at night when those of classical beauty are forgotten after five minutes.

Medieval scholars held on to a classical Greek theory, according to which the movements of the stars across the sky create heavenly music that permeates the entire universe. Humans enjoy physical and mental health when the inner movements of their body and soul are in harmony with the heavenly music created by the stars. Human music should therefore echo the divine melody of the cosmos, rather than reflect the ideas and caprices of flesh-and-blood composers. The most beautiful hymns, songs and tunes were usually attributed not to the genius of some human artist but to divine inspiration.

Having considered Handel's tumultuous opera career and his first term at Covent Garden in the 1730s, perhaps we may dare to suggest he was one of the foremost pioneers in establishing autonomy within the traditional system of music patronage, notwithstanding his efforts to become an independent impressario often proved disappointing.

Handel's yearning for independence from the traditional chains of patronage and his persistence in monitoring his productions resulted with unique developments concerning Baroque 'opera seria'; however, paradoxically his personal obsession to obtain complete artistic freedom generated disastrous side-effects that eventually impeded the progress of opera in London.

The economic collapse and the development of good color stereo television had resulted in the complete destruction of the movie industry. Although there was still much poor entertainment on the air, any person could usually find entertainment to suit his taste, whether it was for adventure stories or Shakespeare, for popular music or the works of the great composers.

Stance in Strategy Adopt a stance with the head erect, neither hanging down, nor looking up, nor twisted. Your forehead and the space between your eyes should not be wrinkled. Do not roll your eyes nor allow them to blink, but slightly narrow them. With your features composed, keep the line of your nose straight with a feeling of slightly flaring your nostrils. Hold the line of the rear of the neck straight: instill vigor into your hairline, and in the same way from the shoulders down through your entire body. Lower both shoulders and, without the buttocks jutting out, put strength into your legs from the knees to the tips of your toes. Brace your abdomen so that you do not bend at the hips. Wedge your companion sword in your belt against your abdomen, so that your belt is not slack - this is called "wedging in".

Our own thesis was sketched in the Introduction: the classical written Chinese language—the language in which the Analects was composed—is unique, being sharply distinct not only from all non-Sinitic languages but from spoken Chinese as well (ancient and modern), and that the differences between the two Chinese languages are of greater linguistic and philosophical significance than has been generally noticed.

Let’s face it, she’s our inspiration! The Muse as fluffball! And the inspiration of men, as well! Why else were the sagas of heroes, of their godlike strength and superhuman exploits, ever composed, if not for the admiration of women thought stupid enough to believe them? Where did five hundred years of love lyrics come from, not to mention those plaintive imploring songs, all musical whines and groans? Aimed straight at women stupid enough to find them seductive! When lovely woman stoops or bungles her way into folly, pleading her good intentions, her wish to please, and is taken advantage of, especially by somebody famous, if stupid or smart enough, she gets caught, just as in classic novels, and makes her way into the tabloids, confused and tearful, and from there straight into our hearts. We forgive you! we cry. We understand! Now do it some more!

The goal of all principled people is to recognize truth. Simple or complex thoughts and feelings standing alone rarely express any universal truths. Thoughts and feelings combine to create profound truths and compose extravagant falsities. Truth making exposes certain falsehoods, and lies shed light upon irrefutable truths. Art reveals the pageantry of nature along with the unmitigated grotesqueness that accompanies an earthly life. The search for truth begins with an intellectual journey into darkness whereas the search for beauty requires an imaginative act trussed with the classical beauty of Apollonian lightness. Aesthetic appreciation represents the perfect reconciliation of the sensual and rational parts of humankind’s animalistic nature. Similar to aesthetic experience – contemplation of beauty without imposition of a worldly agenda – love depends upon human sensory-emotional values, a judgement of values and sentiments.

She did not mean to have her own affections entangled again, and it would be incumbent on her to avoid any encouragement of his. She wished she might be able to keep him from an absolute declaration. That would be so very painful a conclusion of their present acquaintance! and yet, she could not help rather anticipating something decisive. She felt as if the spring would not pass without bringing a crisis, an event, a something to alter her present composed and tranquil state.

The Middle Kingdom was the golden age of literature, when many of the great classics were composed. From the heroic Tale of Sinuhe to the rollicking yarn of The Shipwrecked Sailor, from the overtly propagandist Prophecies of Neferti to the subtle rhetoric of The Eloquent Peasant, and from the metaphysical Dispute Between a Man and His Soul to the burlesque Satire of the Trades, the literary output of the Middle Kingdom reveals ancient Egyptian society at its most complex and sophisticated

The year 1968 was also ground zero for popular music in Germany. Karl Bartos, in 1968 a 16-year-old gifted classical musician, puts it like this: ‘We don’t have the blues in our genes and we weren’t born in the Mississippi Delta. There were no black people in Germany. So instead we thought we’d had this development in the twenties which was very, very strong and was audio-visual. We had the Bauhaus school before the war; and then after the war we had tremendous people like Karlheinz Stockhausen and the development of the classical and the electronic classical. This was very strong and it all happened very close to Düsseldorf, in Cologne, and all the great composers at that time came there. During the late forties up until the seventies they all came to Germany; people like John Cage, Pierre Boulez and Pierre Schaeffer, and they all had this fantastic approach to modern music, and we felt it would make more sense to see Kraftwerk as part of that tradition more than anything else.

Don Chrisantos Michael Wanzala "Don CM Wanzala" (born April 13), popularly known as Don Santo (stylized as DON SANTO) is a Kenyan singer, rapper, songwriter, arranger, actor, author, content producer, Photo-Videographer, Creative Director (Blame It On Don), entrepreneur, record executive and Leader of the Klassik Nation and chairman and president of Global Media Ltd, based in Nairobi City in Kenya. ​ The genius of DON SANTO rests in his willingness to break from traditional formula and constantly push the envelope. He flips the method of the moment with undeniable swagger and bold African sensibility. As a songwriter, Santo revisits simple, but profound aspects of the human experience – love, lust, desire, joy, and pain that define classical art and drama. He applies his concept to rich, full vocals that exude his intended effect. It is this uncanny ability to compose classics and deliver electrifying live performances that define everything that is essential DON SANTO. In 2015, Santo won the East Africa Music Awards in the Artist of the year Category while his song "Sina Makosa" won the Song of The year. A believer in GOD, FAMILY & GOOD LIFE (Klassikanity).

Then I met David Janko on the station. He was a young white in his early twenties. I made the mistake of talking to him, something about classical music because it was the only thing I could listen to while drinking beer in bed in the early morning. If you listen morning after morning you are bound to remember things. And when Joyce had divorced me I had mistakenly packed 2 volumes of The Lives of the Classical and Modern Composers into one of my suitcases. Most of these men's lives were so tortured that I enjoyed reading about them, thinking, well, I am in hell too and I can't even write music.

So all that took place at the hotel,” he said, “consisted of a—” “The association,” Rachael said, “wanted to reach the bounty hunters here and in the Soviet Union. This [having sex] seemed to work…for reasons which we do not fully understand. Our limitation again, I guess.” “I doubt if it works as often or as well as you say,” he said thickly. “But it has with you.” “We’ll see.” “I already know,” Rachael said. “When I saw that expression on your face, that grief. I look for that.” “How many times have you done this?” “I don’t remember. Seven, eight. No, I believe it’s nine.” She—or rather it—nodded. “Yes, nine times.” “The idea is old-fashioned,” Rick said. Startled, Rachael said, “W-What?” Pushing the steering wheel away from him, he put the car into a gliding decline. “Or anyhow that’s how it strikes me. I’m going to kill you,” he said. “And go on to Roy and Irmgard Baty and Pris Stratton alone.” “That’s why you’re landing?” Apprehensively, she said, “There’s a fine; I’m the property, the legal property, of the association. I’m not an escaped android who fled here from Mars; I’m not in the same class as the others.” “But,” he said, “if I can kill you then I can kill them.” Her hands dived for her bulging, overstuffed, kipple-filled purse; she searched frantically, then gave up. “Goddamn this purse,” she said with ferocity. “I never can lay my hands on anything in it. Will you kill me in a way that won’t hurt? I mean, do it carefully. If I don’t fight; okay? I promise not to fight. Do you agree?” Rick said, “I understand now why Phil Resch said what he said. He wasn’t being cynical; he had just learned too much. Going through this—I can’t blame him. It warped him.” “But the wrong way.” She seemed more externally composed now. But still fundamentally frantic and tense. Yet, the dark fire waned; the life force oozed out of her, as he had so often witnessed before with other androids. The classic resignation. Mechanical, intellectual acceptance of that which a genuine organism—with two billion years of the pressure to live and evolve hagriding it—could never have reconciled itself to. “I can’t stand the way you androids give up,” he said savagely.

our social personality is created by the thoughts of other people. Even the simple act which we describe as “seeing some one we know” is, to some extent, an intellectual process. We pack the physical outline of the creature we see with all the ideas we have already formed about him, and in the complete picture of him which we compose in our minds those ideas have certainly the principal place. In the end they come to fill out so completely the curve of his cheeks, to follow so exactly the line of his nose, they blend so harmoniously in the sound of his voice that these seem to be no more than a transparent envelope, so that each time we see the face or hear the voice it is our own ideas of him which we recognise and to which we listen

As any painter, writer, or composer knows, artworks arise from the tension between their physical materials and the thought or spirit that shapes them from within. Though they require some outward, physical element, they cease to function as art when they are reduced to their objectlike, artifactual element. This definitive tension underlies art’s varied social uses and explains how it came to be celebrated on the one hand as an expression of the highest spiritual achievements of humanity and, on the other, criticized as merely another precious object—a trapping of wealth, privilege, and social exclusion. Even in the heyday of classical music, there was always a gap between the philosophical claims for music and social practice

It might be imagined that certain people in history—the naturally gifted, the geniuses—have either somehow bypassed the Apprenticeship Phase or have greatly shortened it because of their inherent brilliance. To support such an argument, people will bring up the classic examples of Mozart and Einstein, who seemed to have emerged as creative geniuses out of nowhere. With the case of Mozart, however, it is generally agreed among classical music critics that he did not write an original and substantial piece of music until well after ten years of composing. In fact, a study of some seventy great classical composers determined that with only three exceptions, all of the composers had needed at least ten years to produce their first great work, and the exceptions had somehow managed to create theirs in nine years. Einstein began his serious thought experiments at the age of sixteen. Ten years later he came up with his first revolutionary theory of relativity. It is impossible to quantify the time he spent honing his theoretical skills in those ten years, but is not hard to imagine him working three hours a day on this particular problem, which would yield more than 10,000 hours after a decade. What in fact separates Mozart and Einstein from others is the extreme youth with which they began their apprenticeships and the intensity with which they practiced, stemming from their total immersion in the subject. It is often the case that in our younger years we learn faster, absorb more deeply, and yet retain a kind of creative verve that tends to fade as we get older.

horizontal division between clearness and opacity, but were imbedded in an elastic body of a monotonous pallor throughout. There was no perceptible motion in the air, not a visible drop of water fell upon a leaf of the beeches, birches, and firs composing the wood on either side. The trees stood in an attitude of intentness, as if they waited longingly for a wind to come and rock them. A startling quiet overhung all surrounding things—so completely, that the crunching of the waggon-wheels was as a great noise, and small rustles, which had never obtained a hearing except by night, were distinctly individualized. Joseph Poorgrass looked round upon his sad burden as it loomed faintly through the flowering laurustinus, then at the unfathomable gloom amid the high trees on each hand, indistinct, shadowless, and spectre-like in their monochrome of grey. He felt anything but cheerful, and wished he had the company even of a child or dog. Stopping the horse, he listened. Not a footstep or wheel was audible anywhere around, and the dead silence was broken only by a heavy particle falling from a tree through the evergreens and alighting with a smart rap upon the coffin of poor Fanny. The fog had by this time saturated the trees, and this was the first dropping of water from the overbrimming leaves. The hollow echo of its fall reminded the waggoner painfully of the grim Leveller. Then hard by came down another drop, then two or three. Presently there was a continual tapping of these heavy drops upon the dead leaves, the road, and the travellers. The nearer boughs were beaded with the mist to the greyness of aged men, and the rusty-red leaves of the beeches were

I can remember starving in a small room in a strange city shades pulled down, listening to classical music I was young I was so young it hurt like a knife inside because there was no alternative except to hide as long as possible- not in self-pity but with dismay at my limited chance: trying to connect. the old composers-Mozart, Bach, Beethoven, Brahms were the only ones who spoke to me and they were dead. finally, starved and beaten, I had to go into the streets to be interviewd for low-paying and monotonous jobs by strange men behind desks men without eyes men without faces who would take my hours break them piss on them. now I work for the editors the readers the critics but still hang around and drink with Mozart, Bach, Brahms and the Bee some buddies some men sometimes all we need to be able to continue alone are the dead rattling the walls that close us in.

Einstein served as a source of inspiration for many of the modernist artists and thinkers, even when they did not understand him. This was especially true when artists celebrated such concepts as being “free from the order of time,” as Proust put it in the closing of Remembrance of Things Past. “How I would love to speak to you about Einstein,” Proust wrote to a physicist friend in 1921. “I do not understand a single word of his theories, not knowing algebra. [Nevertheless] it seems we have analogous ways of deforming Time.”54 A pinnacle of the modernist revolution came in 1922, the year Einstein’s Nobel Prize was announced. James Joyce’s Ulysses was published that year, as was T. S. Eliot’s The Waste Land. There was a midnight dinner party in May at the Majestic Hotel in Paris for the opening of Renard, composed by Stravinsky and performed by Diaghilev’s Ballets Russes. Stravinsky and Diaghilev were both there, as was Picasso. So, too, were both Joyce and Proust, who “were destroying 19th century literary certainties as surely as Einstein was revolutionizing physics.” The mechanical order and Newtonian laws that had defined classical physics, music, and art no longer ruled.

Fluffy is a call-back to Cerberus, the Classical three-headed mythological beast and guard dog to the gates of hell, which Hercules had to capture as one of his twelve labours. The depiction of Cerberus and Hercules by Aegidius Sadeler II, engraver in the court of Rudolf II in Prague (made some time between 1586 and 1629), made the gates of hell look like a flaming brick prison. What’s interesting about the image of Hercules dragging the dark, muscular, fanged beast in his left hand and the way it is composed is the angle. You’re compelled to follow the action from right to left, as opposed to the conventional Western habit of reading left to right. This inversion could be because we are in the underworld, where logic, physics and, indeed, art are turned on their head. What also links Cerberus to Fluffy and the Philosopher’s Stone is that in capturing Cerberus and taking him to King Eurystheus (who was so terrified he immediately jumped into a large jar to escape), Hercules gained immortality by completing his penance. And just like Harry in his epic struggle to find the Philosopher’s Stone, Hercules did so less through physical effort than through courage and strength of mind.

The Memoirs from Beyond the Grave have come to be considered a classic of French literature as much for the elegiac beauty of their language as for the way they capture an age. If they are the recollections of a sometime ambassador, a part-time politician, and a onetime celebrity, they are also the masterwork of an artist in consummate control of his prose. The person who writes that, on the day of his birth, his mother “inflicted” life on him, who makes up a meeting with George Washington and has the gall to declare that the first president “resembled his portraits,” has picked up the plume for more complicated reasons than the urge to compose a record of his times. The seductiveness of the Memoirs’ style—what Barthes calls the “vivid, sumptuous, desirable seal of Chateaubriand’s writing”—makes questions of factual authenticity seem piddling. The voice of the Memoirs is the voice of the private man behind the public façade, the grown-up boy who left home out of fear and in search of the Northwest Passage, the death-haunted exile, the solitary writer at his desk at night, who knew that he had to imagine himself and his world into being, as if everywhere were America, a second space and a dominion of dreams.

Except for Christianity, the Nazis reject as Jewish everything which stems from Jewish authors. This condemnation includes the writings of those Jews who, like Stahl, Lassalle, Gumplowicz, and Rathenau, have contributed many essential ideas to the system of Nazism. But the Jewish mind is, as the Nazis say, not limited to the Jews and their offspring only. Many “Aryans” have been imbued with Jewish mentality—for instance the poet, writer, and critic Gotthold Ephraim Lessing, the socialist Frederick Engels, the composer Johannes Brahms, the writer Thomas Mann, and the theologian Karl Barth. They too are damned. Then there are whole schools of thought, art, and literature rejected as Jewish. Internationalism and pacifism are Jewish, but so is warmongering. So are liberalism and capitalism, as well as the “spurious” socialism of the Marxians and of the Bolsheviks. The epithets Jewish and Western are applied to the philosophies of Descartes and Hume, to positivism, materialism and empiro-criticism, to the economic theories both of the classics and of modern subjectivism. Atonal music, the Italian opera style, the operetta and the paintings of impressionism are also Jewish. In short, Jewish is what any Nazi dislikes. If one put together everything that various Nazis have stigmatized as Jewish, one would get the impression that our whole civilization has been the achievement only of Jews.

Tonight, however, Dickens struck him in a different light. Beneath the author’s sentimental pity for the weak and helpless, he could discern a revolting pleasure in cruelty and suffering, while the grotesque figures of the people in Cruikshank’s illustrations revealed too clearly the hideous distortions of their souls. What had seemed humorous now appeared diabolic, and in disgust at these two favourites he turned to Walter Pater for the repose and dignity of a classic spirit. But presently he wondered if this spirit were not in itself of a marble quality, frigid and lifeless, contrary to the purpose of nature. ‘I have often thought’, he said to himself, ‘that there is something evil in the austere worship of beauty for its own sake.’ He had never thought so before, but he liked to think that this impulse of fancy was the result of mature consideration, and with this satisfaction he composed himself for sleep. He woke two or three times in the night, an unusual occurrence, but he was glad of it, for each time he had been dreaming horribly of these blameless Victorian works… It turned out to be the Boy’s Gulliver’s Travels that Granny had given him, and Dicky had at last to explain his rage with the devil who wrote it to show that men were worse than beasts and the human race a washout. A boy who never had good school reports had no right to be so morbidly sensitive as to penetrate to the underlying cynicism of Swift’s delightful fable, and that moreover in the bright and carefully expurgated edition they bring out nowadays. Mr Corbett could not say he had ever noticed the cynicism himself, though he knew from the critical books it must be there, and with some annoyance he advised his son to take out a nice bright modern boy’s adventure story that could not depress anybody. Mr Corbett soon found that he too was ‘off reading’. Every new book seemed to him weak, tasteless and insipid; while his old and familiar books were depressing or even, in some obscure way, disgusting. Authors must all be filthy-minded; they probably wrote what they dared not express in their lives. Stevenson had said that literature was a morbid secretion; he read Stevenson again to discover his peculiar morbidity, and detected in his essays a self-pity masquerading as courage, and in Treasure Island an invalid’s sickly attraction to brutality. This gave him a zest to find out what he disliked so much, and his taste for reading revived as he explored with relish the hidden infirmities of minds that had been valued by fools as great and noble. He saw Jane Austen and Charlotte Brontë as two unpleasant examples of spinsterhood; the one as a prying, sub-acid busybody in everyone else’s flirtations, the other as a raving, craving maenad seeking self-immolation on the altar of her frustrated passions. He compared Wordsworth’s love of nature to the monstrous egoism of an ancient bellwether, isolated from the flock.

I have noticed that many intellectuals turn themselves off the instant they are confronted with the words witchcraft, magic, occultism, and religion, as if such ideas exert a dangerous power that might weaken their rational faculties. Yet many of these people maintain a generous openness about visionaries, poets, and artists, some of whom may be quite mad according to “rational” standards. They are fascinated by people of diverse professions and lifestyles who have historical ties with, let us say, the Transcendentalists or the Surrealists, as long as the word occult is not mentioned. If Neo-Paganism were presented as an intellectual and artistic movement whose adherents have new perceptions of the nature of reality, the place of whose adherents have new perceptions of the nature of reality, the place of sexuality, and the meaning of community, academics would flock to study it. Political philosophers would write articles on the Neo-Pagans’ sense of wonder and the minority vision they represent. Literary critics would compare the poetic images in the small magazines published and distributed by the groups with images in the writings of Blake and Whitman. Jungian psychologists would rush to study the Neo-Pagans’ use of ancient archetypes and their love of the classics and ancient lore. But words like witch and pagan do not rest easily in the mind or on the tongue. Although reporting on Paganism and Wicca has improved in the last decade, pop journalists often still present a Neo-Paganism composed of strange characters and weird rites.

Simonton finds that on average, creative geniuses weren’t qualitatively better in their fields than their peers. They simply produced a greater volume of work, which gave them more variation and a higher chance of originality. “The odds of producing an influential or successful idea,” Simonton notes, are “a positive function of the total number of ideas generated.” Consider Shakespeare: we’re most familiar with a small number of his classics, forgetting that in the span of two decades, he produced 37 plays and 154 sonnets. Simonton tracked the popularity of Shakespeare’s plays, measuring how often they’re performed and how widely they’re praised by experts and critics. In the same five-year window that Shakespeare produced three of his five most popular works—Macbeth, King Lear, and Othello—he also churned out the comparatively average Timon of Athens and All’s Well That Ends Well, both of which rank among the worst of his plays and have been consistently slammed for unpolished prose and incomplete plot and character development. In every field, even the most eminent creators typically produce a large quantity of work that’s technically sound but considered unremarkable by experts and audiences. When the London Philharmonic Orchestra chose the 50 greatest pieces of classical music, the list included six pieces by Mozart, five by Beethoven, and three by Bach. To generate a handful of masterworks, Mozart composed more than 600 pieces before his death at thirty-five, Beethoven produced 650 in his lifetime, and Bach wrote over a thousand. In a study of over 15,000 classical music compositions, the more pieces a composer produced in a given five-year window, the greater the spike in the odds of a hit. Picasso’s oeuvre includes more than 1,800 paintings, 1,200 sculptures, 2,800 ceramics, and 12,000 drawings, not to mention prints, rugs, and tapestries—only a fraction of which have garnered acclaim. In poetry, when we recite Maya Angelou’s classic poem “Still I Rise,” we tend to forget that she wrote 165 others; we remember her moving memoir I Know Why the Caged Bird Sings and pay less attention to her other 6 autobiographies. In science, Einstein wrote papers on general and special relativity that transformed physics, but many of his 248 publications had minimal impact. If you want to be original, “the most important possible thing you could do,” says Ira Glass, the producer of This American Life and the podcast Serial, “is do a lot of work. Do a huge volume of work.” Across fields, Simonton reports that the most prolific people not only have the highest originality; they also generate their most original output during the periods in which they produce the largest volume.* Between the ages of thirty and thirty-five, Edison pioneered the lightbulb, the phonograph, and the carbon telephone. But during that period, he filed well over one hundred patents for other inventions as diverse as stencil pens, a fruit preservation technique, and a way of using magnets to mine iron ore—and designed a creepy talking doll. “Those periods in which the most minor products appear tend to be the same periods in which the most major works appear,” Simonton notes. Edison’s “1,093 patents notwithstanding, the number of truly superlative creative achievements can probably be counted on the fingers of one hand.

But my point applies to a broader audience. Indulge me in one more thought experiment, a familiar one: You will be stranded on a desert island, and you can take just 10 books and 10 music CDs. What do you choose? My prediction is that even people who don’t listen to classical music regularly will take Bach, Mozart, and Beethoven. Even people who haven’t picked up Shakespeare in years will take the collected works of Shakespeare. When we want something we can go back to again and again, we choose the same giants that the experts choose. My proposition about the literature, music, and visual arts of the last half century is that hardly any of it has enough substance to satisfy, over time. The post-1950 West has unquestionably produced some wonderful entertainments, and I do not mean wonderful slightingly. The Simpsons is wickedly smart, Saving Private Ryan is gripping, Groundhog Day is a brilliant moral fable. The West’s popular culture is for my money the only contemporary culture worth patronizing, with its best stories more compelling and revealing than the ones written by authors who purport to write serious novels, and its best popular music with more energy and charm than anything the academic composers turn out. It is a mixed bag, with the irredeemably vulgar side by side, sometimes intermingled, with the wittiest and most thoughtful work. But the quality is often first-rate—as well it might be. The people producing the best work include some who in another age could have been a Caravaggio or Brahms or Racine, and perhaps dozens of others good enough to have made their way onto the roster of significant figures. Why not be satisfied with wonderful entertainments?

This once-proud country of ours is falling Into the hands of the wrong people,' said Jones. He nodded, and so did Father Keeley and the Black Fuehrer. 'And, before it gets back on the right track,' said Jones, 'some heads are going to roll.' I have never seen a more sublime demonstration of the totalitarian mind, a mind which might be likened unto a system of gears whose teeth have been filed off at random. Such a snaggle-toothed thought machine, driven by a standard or even a substandard libido, whirls with the jerky, noisy, gaudy pointlessness of a cuckoo clock in Hell. The boss G-man concluded wrongly that there were no teeth on the gears in the mind of Jones. 'You're completely crazy,' he said. Jones wasn't completely crazy. The dismaying thing about the classic totalitarian mind is that any given gear, though mutilated, will have at its circumference unbroken sequences of teeth that are immaculately maintained, that are exquisitely machined. Hence the cuckoo clock in Hell — keeping perfect time for eight minutes and thirty-three seconds, jumping ahead fourteen minutes, keeping perfect time for six seconds, jumping ahead two seconds, keeping perfect time for two hours and one second, then jumping ahead a year. The missing teeth, of course, are simple, obvious truths, truths available and comprehensible even to ten-year-olds, in most cases. The willful filing off of gear teeth, the willful doing without certain obvious pieces of information — That was how a household as contradictory as one composed of Jones, Father Keeley, Vice-Bundesfuebrer Krapptauer, and the Black Fuehrer could exist in relative harmony — That was how my father-in-law could contain in one mind an indifference toward slave women and love for a blue vase — That was how Rudolf Hoess, Commandant of Auschwitz, could alternate over the loudspeakers of Auschwitz great music and calls for corpse-carriers — That was how Nazi Germany could sense no important differences between civilization and hydrophobia —

The concentrated structure of musical form, based on dramatic climaxes, gradually breaks up in romanticism and gives way again to the cumulative composition of the older music. Sonata form falls to pieces and is replaced more and more often by other, less severe and less schematically moulded forms—by small-scale lyrical and descriptive genres, such as the Fantasy and the Rhapsody, the Arabesque and the Étude, the Intermezzo and the Impromptu, the Improvisation and the Variation. Even extensive works are often made up of such miniature forms, which no longer constitute, from the structural point of view, the acts of a drama, but the scenes of a revue. A classical sonata or symphony was the world in parvo: a microcosm. A succession of musical pictures, such as Schumann’s Carnaval or Liszt’s Années de Pèlerinage, is like a painter’s sketch-book; it may contain magnificent lyrical-impressionistic details, but it abandons the attempt to create a total impression and an organic unity from the very beginning. [...] This change of form is accompanied by the literary inclinations of the composers and their bias towards programme music. The intermingling of forms also makes itself felt in music and is expressed most conspicuously in the fact that the romantic composers are often very gifted and important writers. In the painting and poetry of the period the disintegration of form does not proceed anything like so quickly, nor is it so far-reaching as in music. The explanation of the difference is partly that the cyclical ‘medieval’ structure had long since been overcome in the other arts, whereas it remained predominant in music until the middle of the eighteenth century, and only began to yield to formal unity after the death of Bach. In music it was therefore much easier to revert to it than, for example, in painting where it was completely out of date. The romantics’ historical interest in old music and the revival of Bach’s prestige had, however, only a subordinate part in the dissolution of strict sonata form, the real reason is to be sought in a change of taste which was in essentials sociologically conditioned.

This once-proud country of ours is falling into the hands of the wrong people,” said Jones. He nodded, and so did Father Keeley and the Black Fuehrer. “And, before it gets back on the right track,” said Jones, “some heads are going to roll.” I have never seen a more sublime demonstration of the totalitarian mind, a mind which might be likened unto a system of gears whose teeth have been filed off at random. Such a snaggle-toothed thought machine, driven by a standard or even a substandard libido, whirls with the jerky, noisy, gaudy pointlessness of a cuckoo clock in Hell. The boss G-man concluded wrongly that there were no teeth on the gears in the mind of Jones. “You’re completely crazy,” he said. Jones wasn’t completely crazy. The dismaying thing about the classic totalitarian mind is that any given gear, though mutilated, will have at its circumference unbroken sequences of teeth that are immaculately maintained, that are exquisitely machined. Hence the cuckoo clock in Hell—keeping perfect time for eight minutes and thirty-three seconds, jumping ahead fourteen minutes, keeping perfect time for six seconds, jumping ahead two seconds, keeping perfect time for two hours and one second, then jumping ahead a year. The missing teeth, of course, are simple, obvious truths, truths available and comprehensible even to ten-year-olds, in most cases. The willful filing off of gear teeth, the willful doing without certain obvious pieces of information— That was how a household as contradictory as one composed of Jones, Father Keeley, Vice-Bundesfuehrer Krapptauer, and the Black Fuehrer could exist in relative harmony— That was how my father-in-law could contain in one mind an indifference toward slave women and love for a blue vase— That was how Rudolf Hoess, Commandant of Auschwitz, could alternate over the loudspeakers of Auschwitz great music and calls for corpse-carriers— That was how Nazi Germany could sense no important differences between civilization and hydrophobia— That is the closest I can come to explaining the legions, the nations of lunatics I’ve seen in my time. And for me to attempt such a mechanical explanation is perhaps a reflection of the father whose son I was. Am. When I pause to think about it, which is rarely, I am, after all, the son of an engineer. Since there is no one else to praise me, I will praise myself—will say that I have never tampered with a single tooth in my thought machine, such as it is. There are teeth missing, God knows—some I was born without, teeth that will never grow. And other teeth have been stripped by the clutchless shifts of history— But never have I willfully destroyed a tooth on a gear of my thinking machine. Never have I said to myself, “This fact I can do without.” Howard W. Campbell, Jr., praises himself. There’s life in the old boy yet! And, where there’s life— There is life.

During [Erté]’s childhood St. Petersburg was an elegant centre of theatrical and artistic life. At the same time, under its cultivated sophistication, ominous rumbles could be distinguished. The reign of the tough Alexander III ended in 1894 and his more gentle successor Nicholas was to be the last of the Tsars … St. Petersburg was a very French city. The Franco-Russian Pact of 1892 consolidated military and cultural ties, and later brought Russia into the First World war. Two activities that deeply influenced [Erté], fashion and art, were particularly dominated by France. The brilliant couturier Paul Poiret, for whom Erté was later to work in Paris, visited the city to display his creations. Modern art from abroad, principally French, was beginning to be show in Russia in the early years of the century … In St. Petersburg there were three Imperial theatres―the Maryinsky, devoted to opera and ballet, the Alexandrinsky, with its lovely classical façade, performing Russian and foreign classical drama, and the Michaelovsky with a French repertoire and company … It is not surprising that an artistic youth in St. Petersburg in the first decade of this century should have seen his future in the theatre. The theatre, especially opera and ballet, attracted the leading young painters of the day, including Mikhail Vrubel, possibly the greatest Russian painter of the pre-modernistic period. The father of modern theatrical design in Russia was Alexandre Benois, an offspring of the brilliant foreign colony in the imperial capital. Before 1890 he formed a club of fellow-pupils who were called ‘The Nevsky Pickwickians’. They were joined by the young Jew, Leon Rosenberg, who later took the name of one of his grandparents, Bakst. Another member introduced his cousin to the group―Serge Diaghilev. From these origins emerged the Mir Iskustva (World of Art) society, the forerunner of the whole modern movement in Russia. Soon after its foundation in 1899 both Benois and Bakst produced their first work in the theatre, The infiltration of the members of Mir Iskustva into the Imperial theatre was due to the patronage of its director Prince Volkonsky who appointed Diaghilev as an assistant. But under Volkonsky’s successor Diagilev lost his job and was barred from further state employment. He then devoted his energies and genius to editing the Mir Iskustva magazine and to a series of exhibitions which introduced Russia to work of foreign artists … These culminated in the remarkable exhibition of Russian portraiture held at the Taurida Palace in 1905, and the Russian section at the salon d'Autumne in Paris the following year. This was the most comprehensive Russian exhibition ever held, from early icons to the young Larionov and Gontcharova. Diagilev’s ban from Russian theatrical life also led to a series of concerts in Paris in 1907, at which he introduced contemporary Russian composers, the production Boris Godunov the following year with Chaliapin and costumes and décor by Benois and Golovin, and then in 1909, on May 19, the first season of the ballet Russes at the Châtelet Theatre.

In many fields—literature, music, architecture—the label ‘Modern’ stretches back to the early 20th century. Philosophy is odd in starting its Modern period almost 400 years earlier. This oddity is explained in large measure by a radical 16th century shift in our understanding of nature, a shift that also transformed our understanding of knowledge itself. On our Modern side of this line, thinkers as far back as Galileo Galilei (1564–1642) are engaged in research projects recognizably similar to our own. If we look back to the Pre-Modern era, we see something alien: this era features very different ways of thinking about how nature worked, and how it could be known. To sample the strange flavour of pre-Modern thinking, try the following passage from the Renaissance thinker Paracelsus (1493–1541): The whole world surrounds man as a circle surrounds one point. From this it follows that all things are related to this one point, no differently from an apple seed which is surrounded and preserved by the fruit … Everything that astronomical theory has profoundly fathomed by studying the planetary aspects and the stars … can also be applied to the firmament of the body. Thinkers in this tradition took the universe to revolve around humanity, and sought to gain knowledge of nature by finding parallels between us and the heavens, seeing reality as a symbolic work of art composed with us in mind (see Figure 3). By the 16th century, the idea that everything revolved around and reflected humanity was in danger, threatened by a number of unsettling discoveries, not least the proposal, advanced by Nicolaus Copernicus (1473–1543), that the earth was not actually at the centre of the universe. The old tradition struggled against the rise of the new. Faced with the news that Galileo’s telescopes had detected moons orbiting Jupiter, the traditionally minded scholar Francesco Sizzi argued that such observations were obviously mistaken. According to Sizzi, there could not possibly be more than seven ‘roving planets’ (or heavenly bodies other than the stars), given that there are seven holes in an animal’s head (two eyes, two ears, two nostrils and a mouth), seven metals, and seven days in a week. Sizzi didn’t win that battle. It’s not just that we agree with Galileo that there are more than seven things moving around in the solar system. More fundamentally, we have a different way of thinking about nature and knowledge. We no longer expect there to be any special human significance to natural facts (‘Why seven planets as opposed to eight or 15?’) and we think knowledge will be gained by systematic and open-minded observations of nature rather than the sorts of analogies and patterns to which Sizzi appeals. However, the transition into the Modern era was not an easy one. The pattern-oriented ways of thinking characteristic of pre-Modern thought naturally appeal to meaning-hungry creatures like us. These ways of thinking are found in a great variety of cultures: in classical Chinese thought, for example, the five traditional elements (wood, water, fire, earth, and metal) are matched up with the five senses in a similar correspondence between the inner and the outer. As a further attraction, pre-Modern views often fit more smoothly with our everyday sense experience: naively, the earth looks to be stable and fixed while the sun moves across the sky, and it takes some serious discipline to convince oneself that the mathematically more simple models (like the sun-centred model of the solar system) are right.

I was … attacked for being a pasticheur, chided for composing “simple” music, blamed for deserting “modernism,” accused of renouncing my “true Russian heritage.” People who had never heard of, or cared about, the originals cried “sacrilege”: “The classics are ours. Leave the classics alone.” To them all my answer was and is the same: You “respect,” but I love.

CONCERTS IN TOWN “Summergarden: New Music for New York” The Museum of Modern Art turns to music every summer, hosting a variety of classical, jazz, and pop performers in its Sculpture Garden. Juilliard runs the classical department, with Joel Sachs leading members of the New Juilliard Ensemble; this week’s concert offers contemporary works for strings by Roberto Sierra, Eric Lindsay, and the dean of Australian composers, Peter Sculthorpe (the String Quartet No. 15, from 1999), as well as a piece for flute and strings by the Belize-born British composer Errollyn Wallen. (11 W. 53rd St. July 20 at 8. Free with museum admission.)

Americans are driven by many forces, and chief among those forces—and thus a formative element in the country’s soul—is the “pursuit of happiness” of which Jefferson wrote in the Declaration of Independence. When he composed those words in his rented second-floor quarters at Seventh and Market in Philadelphia in late June, 1776, Jefferson was not thinking about happiness in only the sense of good cheer. He and his colleagues were contemplating something more comprehensive—more revolutionary. Garry Wills’s classic 1978 book on the Declaration, Inventing America, put it well: “When Jefferson spoke of pursuing happiness,” Wills wrote, “he had nothing vague or private in mind. He meant public happiness which is measurable; which is, indeed, the test and justification of any government.

Mozart began composing highly intricate pieces of music in a period of time when the most popular genre of music was style galant—an elegant genre to be sure, but defined by the simplicity of its structure. The style galant was in and of itself a reaction to the musical style that had come directly before it, commonly referred to as the Baroque period. Music in the Baroque style was highly embellished, defined by the use of ornamentation, or unnecessarily complicated measures inserted throughout the piece of music. Critics of the period were quick to say that the Baroque style lacked a coherent melody and was largely dissonant, even to the trained ear. Popular musical forms in the Baroque period included sonatas and cantatas, the former of which Mozart would return to and utilize toward the end of his career. Baroque music was defined by its seriousness—it was often cited as being largely unpleasant to listen to unless one was a musician oneself. The style galant, in response, depended on its light-heartedness and its wide range of appeal to a variety of audiences. The Classical style, which Mozart and his peers pioneered, was another response to the oversimplification of popular music that the style galant characterized. As previously discussed, Mozart spent a great deal of his early years in Paris studying the works of Baroque masters Bach and Handel, and that period of music greatly influenced many of his most recognizable works. Mozart, however, had the talent (and the distance from the period when Baroque music was at its height) to study the most valid criticisms of the Baroque style and pick and choose the intricacies of the style that worked, while discarding the ones that did not. He was able to adapt the dated style to form a completely new aesthetic while steering popular music back toward the trend of compositions that were more complex than the style galant afforded.

Alice was a mild creature in reality, but she had the most marvellous retorts ready for questions that she knew would never be put to her. The composing of them and the turning of them over and over in her mind comforted her just as much as if they’d been expressed.

Many compositions cannot be comprehended without special training or many hours of repeated listening. Even highly educated consumers who enjoy modern art and read James Joyce often find Elliott Carter and Pierre Boulez to be puzzling or perhaps even painful to listen to. Composers of contemporary "classical" music have not made the headway that their peers in literature or painting have enjoyed. Contemporary music, depending on genre, is either the most or the least popular of the these three arts.

However, the most interesting property of your spacetime tube isn't its bulk shape, but its internal structure, which is remarkably complex. Whereas the particles that constitute the Moon are stuck together in a rather static arrangement, many of your particles are in constant motion relative to one another. Consider, for example, the particles that make up your red blood cells. As your blood circulates through your body to deliver the oxygen you need, each red blood cell traces out its own unique tube shape through spacetime, corresponding to a complex itinerary through your arteries, capillaries and veins with regular returns to your heart and lungs. These spacetime tubes of different red blood cells are intertwined to form a braid pattern (Figure 11.4, middle panel) which is more elaborate than anything you'll ever see in a hair salon: whereas a classic braid consists of three strands with perhaps thirty thousand hairs each, intertwined in a simple repeating pattern, this spacetime braid consists of trillions of strands (one for each red blood cell), each composed of trillions of hairlike elementary-particle trajectories, intertwined in a complex pattern that never repeats. In other words, if you imagine spending a year giving a friend a truly crazy hairdo, braiding his hair by separately intertwining not strands but all the individual hairs, the pattern you'd get would still be very simple in comparison. Yet the complexity of all this pales in comparison to the patterns of information processing in your brain. As we discussed in Chapter 8 and illustrated in Figure 8.7, your roughly hundred billion neurons are constantly generating electric signals ("firing"), which involves shuffling around billions of trillions of atoms, notably sodium, potassium and calcium ions. The trajectories of these atoms form an extremely elaborate braid through spacetime, whose complex intertwining corresponds to storing and processing information in a way that somehow gives rise to our familiar sensation of self-awareness. There's broad consensus in the scientific community that we still don't understand how this works, so it's fair to say that we humans don't yet fully understand what we are. However, in broad brushstrokes, we might say this: You're a pattern in spacetime. A mathematical pattern. Specifically, you're a braid in spacetime-indeed one of the most elaborate braids known.

Conversely, animals can be quite sensitive to human music. There are stories of dogs who hide under the couch for piano works by atonal composers but not for those by, say, Mozart. One music teacher told me that her dog would heave an audible sigh of relief if she stopped playing complex, fast-moving pieces by Franz Liszt and proceeded to something calmer. And there are reports of cows that produce more milk listening to Beethoven (although, if this is true, shouldn't one hear more classical music on farms?). Birds listen as carefully to sounds as any musician. They have to, because they learn from each other. Many birds are not born with the song they sing: the symphonies they offer us for free in forests and meadows are cultural. White-crowned sparrows, for example, develop their normal song only when they have been exposed early in life to the sounds of an adult of their species. Many songbirds have dialects-differences in song structure from one population to another. One theory about this is that if a female can tell from a male's song that he is a local boy, she may prefer him as a mate, as he may be genetically adapted to regional conditions. Given the variability in song from location to location it is hard to maintain that birdsong is instinctive in the usual sense. There is room for creativity and modification. Some individuals act as star performers, setting new trends in their region.

That same brutal principle of unequal distribution applies outside the financial domain—indeed, anywhere that creative production is required. The majority of scientific papers are published by a very small group of scientists. A tiny proportion of musicians produces almost all the recorded commercial music. Just a handful of authors sell all the books. A million and a half separately titled books (!) sell each year in the US. However, only five hundred of these sell more than a hundred thousand copies.12 Similarly, just four classical composers (Bach, Beethoven, Mozart, and Tchaikovsky) wrote almost all the music played by modern orchestras. Bach, for his part, composed so prolifically that it would take decades of work merely to hand-copy his scores, yet only a small fraction of this prodigious output is commonly performed. The same thing applies to the output of the other three members of this group of hyper-dominant composers: only a small fraction of their work is still widely played. Thus, a small fraction of the music composed by a small fraction of all the classical composers who have ever composed makes up almost all the classical music that the world knows and loves.

This aggressive gendering of creativity renders it highly exclusionary, as reflected in Clara Schumann’s belief that women should not even wish to compose. Equally it genders the sense of identification with the composer that was central to the classical star culture.

Another classic case in point is the reconstructive origins of the canonical Platform Sutra of the Sixth Patriarch, which is attributed to the seventh-century Chinese Zen master Huineng but in fact seems to have first appeared around 780 ce, "over a century after the events it describes were supposed to have taken place." The earliest versions of the autobiography and teachings of Huineng included in this text were in fact composed by Shenhui and other purported successors in the Southern School in order to differentiate their teachings from, and elevate them over, those of Shenxiu and other teachers of the rival Northern School. While the teachings presented in the Platform Sutra— the only Zen text to be audaciously designated a "sutra"—are indeed a "brilliant consummation" and "wonderful mélange of early Chan [i.e., Chinese Zen] teachings," they can hardly be attributed verbatim to the historical person Huineng. However spiritually inspiring and philosophically rich such classical texts of the Zen tradition may be, we cannot read them as unbiased and unembellished historical records or as innocent of sectarian politics and other mundane motives.

How is it possible for a book of 628 pages to inspire so many different visions?2 Because it consists of so many distinct but interrelated objects — that is to say words, of course, but they denote and evoke things—more things than there are words. Many of the words or formations appear nowhere else, and it is difficult to describe something so much of which you’re seeing for the first time. Its neologisms make it unencompassable, endlessly redefinable. The textual matter of Finnegans Wake developed over seventeen years, just as the meaning for its readers has developed over the seventy- eight years since its first publication. The continual critical redefining of Finnegans Wake partly maps onto its many redefinitions of itself. Both have histories and the list above comprises jumbled fragments of them, concealing a deranged story of ever-shifting perceptions. During the seventeen years of its composition, composed in a manner unlike that used for any other novel, it was always growing. That is it was shifting, splitting, recombining, reconfiguring, restructuring, destructuring, decomposing, and recomposing. One of the things that Finnegans Wake is, is a strange object made in strange ways. By focusing on some of the ways it was made, we will in this book arrive at a further understanding of what it is. Through its continuously self-generating transformation, it is a text of modulation and becoming, flux and flow, an alternative classic of change to the I Ching. Written in a world which was heading towards a confident belief that it could locate, name, and describe anything (all organisms, subatomic particles, links of DNA, black holes), it produced something full of indescribable, unnamable parts. As an unencompassable unfathomable text it remains the best correlative for our unencompassable unfathomable times, changing in its meanings as swiftly as our world, through its feverish reproduction of reproductions.

As a contrast to the Bach of pure music I present the Bach who is a poet and painter in sound. In his music and in his texts he expresses the emotional as well as the descriptive with great vitality and clarity. Before all else he aims at rendering the pictorial in lines of sound. He is even more tone painter than tone poet. His art is nearer to that of Berlioz than to that of Wagner. If the text speaks of drifting mists, of boisterous winds, of roaring rivers, of waves that ebb and flow, of leaves falling from the tree, of bells that toll for the dying, of the confident faith that walks with firm steps or the weak faith that falters, of the proud who will be debased and the humble who will be exalted, of Satan rising in rebellion, of angels on the clouds of heaven, then one sees and hears all this in his music. Bach has, in fact, his own language of sound. There are in his music constantly recurring rhythmical motives expressing peaceful bliss, lively joy, intense pain, or sorrow sublimely borne. The impulse to express poetic and pictorial concepts is the essence of music. It addresses itself to the listener's creative imagination and seeks to kindle in him the feelings and visions with which the music was composed. But this it can do only if the person who uses the language of sound possesses the mysterious faculty of rendering thoughts with a superior clarity and precision. In this respect Bach is the greatest of the great.

To all the people who didn’t think recorder could be a good instrument with good pieces before, recorder has been around since the baroque period making it extremely old, it was used in quite delightful pieces and major classical composers also made some pieces for it, a lot which was covered up by the awful teaching of schools

All atomic nuclei are composed of two types of particles: protons and their electrically neutral partners, neutrons. If a nucleus has too many of one type or the other, then the rules of quantum mechanics dictate that the balance has to be redressed and those excess particles will change into the other form: protons will become neutrons, or neutrons protons, via a process called beta-decay. This is precisely what happens when two protons come together: a composite of two protons cannot exist and one of them will beta-decay into a neutron. The remaining proton and the newly transformed neutron can then bind together to form an object called a deuteron (the nucleus of an atom of the heavy hydrogen isotopefn3 called deuterium), after which further nuclear reactions enable the building of the more complex nuclei of other elements heavier than hydrogen, from helium (with two protons and either one or two neutrons) through to carbon, nitrogen, oxygen, and so on. The key point is that the deuteron owes its existence to its ability to exist in two states simultaneously, by virtue of quantum superposition. This is because the proton and neutron can stick together in two different ways that are distinguished by how they spin. We will see later how this concept of ‘quantum spin’ is actually very different from the familiar spin of a big object, such as a tennis ball; but for now we will go with our classical intuition of a spinning particle and imagine both the proton and the neutron spinning together within the deuteron in a carefully choreographed combination of a slow, intimate waltz and a faster jive. It was discovered back in the late 1930s that within the deuteron these two particles are not dancing together in either one or the other of these two states, but in both states at the same time – they are in a blur of waltz and jive simultaneously – and it is this that enables them to bind together.fn4 An obvious response to this statement is: ‘How do we know?’ Surely, atomic nuclei are far too small to be seen, so might it not be more reasonable to assume that there is something missing in our understanding of nuclear forces? The answer is no, for it has been confirmed in many laboratories over and over again that if the proton and neutron were performing the equivalent of either a quantum waltz or a quantum jive, then the nuclear ‘glue’ between them would not be quite strong enough to bind them together; it is only when these two states are superimposed on top of each other – the two realities existing at the same time – that the binding force is strong enough. Think of the two superposed realities as a little like mixing two coloured paints, blue and yellow, to make a combined resultant colour, green. Although you know the green is made up of the two primary constituent colours, it is neither one nor the other. And different ratios of blue and yellow will make different shades of green. Likewise, the deuteron binds when the proton and neutron are mostly locked in a waltz, with just a tiny amount of jive thrown in. So

In Schubert, for instance, say, in Wiegenleid D867 or Der Wanderer and den Mond D870 one finds perhaps the ultimate listening experience, the composer attaining to that invisible thread which we call the 'muse', a trajectory that descries a perfect line of profitable endeavour, a teetering edge where perfection of .... tone, I think, must be the word - occupies a faltering, infinitesimally narrow arris – short of it and you fail, further and you fall – the arc of the something profound yet beyond rationalization Yeah but, no but - bleedin' classical music

One imagines that he might have understood the supreme value of Bach's vocal works - not primarily as objects or artefacts, but as individual visions of life and as priceless forms of communication with his fellow man. For this is what is so distinctive when we compare Bach's legacy to that of his forerunners and successors. Monteverdi gives us the full gamut of human passions in music, the first composer to do so; Beethoven tells us what a terrible struggle it is to transcend human frailties and to aspire to the Godhead; and Mozart shows the kind of music we might hope to hear in heaven. But it is Bach, making music in the Castle of Heaven, who gives us the voice of God - in human form.

Bach's simple and basic themes ultimately engage and appeal to my adolescent side while the seemingly complex arrangements, though perhaps patronizingly in some cases, also reflect my juvenile perception of what looks and sounds 'grown-up,' intelligent, refined and sophisticated. There were few composers and musicians in my youth that I could say understood me and really got me, almost all were classical. J. S. Bach was one one of them.

Take just one well-known event: The Beatles' 1964 appearance on The Ed Sullivan Show. This has been depicted with astonishing regularity as a pivotal cultural moment; in fact an entire movie -- I Wanna Hold Your Hand -- was built around it. And that Sullivan episode was indeed a major event in popular culture. But did you know that in 1961, 26 million people watched a CBS live broadcast of the first performance of a new symphony by classical composer Aaron Copland? Moreover, with all the attention that sixties rock groups receive, it may come as a surprise to learn that My Fair Lady was Columbia Records' biggest-selling album before the 1970s, beating out those of sixties icons Bob Dylan, Janis Joplin and The Byrds.

Right now, We are living in perhaps the most exciting time in history to buy, own or play that eternal instruments, The piano Cover. What is your goal is to purchase something as small as software that can record what you want to play, a newly designed player piano, a digital machine or a classic phonetic model, there have never been as many options for the trencherman. Player Pianos Also called reproducing pianos. this class of instrument describe a modern update on the paper-outcry player pianos you keep in mind from old movies, and they have grown enormously in popularity over the final decennial. These are not digital instruments they are real, philological pianos with hammers and rope that can be played generally. but they can also start themselves. using filthy electronic technology. Instead of shove paper, they take their hint from lethargic disks, specially formatted CDs or internal memory systems. different manufacturers offer vast sanctum of pre-recorded titles for their systems. music in every genre from pop to the classics filed by some of the earth’s top pianists. These sophisticated systems arrest every nuance of the original performances and play them back with dramatic accuracy providing something that’s actually so much better than CD fidelity because the activities are live. Watch my new cover : Dancing on my own piano Thanks to these new systems, many people who do not play the piano are enjoying live piano music at any time of at morning, night and day. How many they are concurrent dinners for two or entertaining a houseful of partygoers, these high-tech pianos take centre period. For people who do play the piano, these systems can be used to record their own piano deeds, Interface by- Computers, aid in music education, assist with composing and many other applications. In short, these modern marvels aren’t your grandfather's’ player pianos! If you want to learn see the video first : Dancing on my own piano cover

Newell and Simon predicted that by 1970 computers would be capable of composing classical music, discovering important new mathematical theorems, and understanding and translating spoken language.

Exactly why the sources were intertwined in this way is unclear. Exploring this issue really involves asking two questions: (1) Why were all of these sources retained, rather than just retaining the latest or most authoritative one? (2) Why were they combined in this odd way, rather than being left as complete documents that would be read side by side, much like the model of the four different and separate gospels, which introduce the Christian Bible or New Testament? Since there is no direct evidence going back to the redaction of the Torah, these issues may be explored only in a most tentative fashion, with plausible rather than definitive answers. Probably the earlier documents had a certain prestige and authority in ancient Israel, and could not simply be discarded.9 Additionally, the redaction of the Torah from a variety of sources most likely represents an attempt to enfranchise those groups who held those particular sources as authoritative. Certainly the Torah does not contain all of the early traditions of Israel. Yet, it does contain the traditions that the redactor felt were important for bringing together a core group of Israel (most likely during the Babylonian exile of 586-538 B.C.E.). The mixing of these sources by intertwining them preserved a variety of sources and perspectives. (Various methods of intertwining were used-the preferred method was to interleave large blocks of material, as in the initial chapters of Genesis. However, when this would have caused narrative difficulties, as in the flood story or the plagues of Exodus, the sources were interwoven-several verses from one source, followed by several verses from the other.) More than one hundred years ago, the great American scholar G. F Moore called attention to the second-century Christian scholar Tatian, who composed the Diatessaron.10 This work is a harmony of the Gospels, where most of the four canonical gospels are combined into a single work, exactly the same way that scholars propose the four Torah strands of J, E, D, and P have been combined. This, along with other ancient examples, shows that even though the classical model posited by source criticism may seem strange to us, it reflects a way that people wrote literature in antiquity

One of the best descriptions of the actual psychological experiences that come with deep meditation is the Visuddhimagga (Path of purification), a fourth-century meditation manual composed on the island of Sri Lanka by an Indian Buddhist named Buddhaghosa. In the Visuddhimagga he laid out the early Buddhist vision of what can be achieved psychologically through the cultivation of certain critical factors of mind that are developed through meditation practice. As a cross section of the meditative mind, this manual is unparalleled. Through the relentless development of both concentration (the ability to rest the mind in a single object of awareness) and mindfulness (the ability to shift attention to a succession of objects of awareness), the meditator eventually enters into states that are variously described as ones of either terror or delight. These are states that do not often unfold in psychotherapy: they may be glimpsed or remembered, but they do not come forward inexorably, as they do in meditation practice. Their emergence is predicated on the development of certain ego functions beyond the normal operating range of everyday life. Listen, for example, to the classic descriptions of some of these states. The experiences of delight, for instance, are characterized by varying degrees of rapture or happiness, of which there are said to be five grades: Minor happiness is only able to raise the hairs on the body. Momentary happiness is like flashes of lightning at different moments. Showering happiness breaks over the body again and again like waves on the seashore. Uplifting happiness can be powerful enough to levitate the body and make it spring up in the air. . . . But when pervading (rapturous) happiness arises, the whole body is completely pervaded, like a filled bladder, like a rock cavern invaded by a huge inundation.1

Pity," he said, with a rueful little smile, still gazing at the conflagration.  "But I suppose that part of the house was due for renovation anyhow.  I think I shall have it redone in the new classical style . . . what do you think, Major?" "I think that's the last ball of yours I will ever attend." "Now really, Charles.  You wound me."  He knelt down, and, lifting one of Charles's hands, turned it palm upward, shaking his head as he examined the blistered red flesh through the burned-out glove.  "And you have wounded yourself.  How fortunate that you have someone to take such good care of you."  His black eyes, which gave away nothing, found Amy's as he stood up.  "You will take care of him, won't you, my dear?" "Oh, I'll take care of him, Your Grace," she vowed, tenderly smoothing Charles's singed wet hair from his face.  "After all, I've done it before, haven't I, Charles?" "You certainly have."  He shut his eyes, pulled her head down to his, and found her lips in a deep, searching kiss.  And when he finally broke it and looked up, there was everyone gazing down at him, grinning so fiercely he thought their faces would split.  Lucien, one brow raised, but otherwise as composed as ever.  Gareth and Juliet, standing arm and arm, their eyes shining.  A battered Andrew, Nerissa, Perry, Chilcot, the villagers, and everyone else whom Lucien must have used — either directly or indirectly, knowingly or unknowingly — to prove to Charles that he was not only forgiven, but loved, respected and admired. 

February 23 MORNING “I will never leave thee.” — Hebrews 13:5 NO promise is of private interpretation. Whatever God has said to any one saint, He has said to all. When He opens a well for one, it is that all may drink. When He openeth a granary-door to give out food, there may be some one starving man who is the occasion of its being opened, but all hungry saints may come and feed too. Whether He gave the word to Abraham or to Moses, matters not, O believer; He has given it to thee as one of the covenanted seed. There is not a high blessing too lofty for thee, nor a wide mercy too extensive for thee. Lift up now thine eyes to the north and to the south, to the east and to the west, for all this is thine. Climb to Pisgah’s top, and view the utmost limit of the divine promise, for the land is all thine own. There is not a brook of living water of which thou mayst not drink. If the land floweth with milk and honey, eat the honey and drink the milk, for both are thine. Be thou bold to believe, for He hath said, “I will never leave thee, nor forsake thee.” In this promise, God gives to His people everything. “I will never leave thee.” Then no attribute of God can cease to be engaged for us. Is He mighty? He will show Himself strong on the behalf of them that trust Him. Is He love? Then with lovingkindness will He have mercy upon us. Whatever attributes may compose the character of Deity, every one of them to its fullest extent shall be engaged on our side. To put everything in one, there is nothing you can want, there is nothing you can ask for, there is nothing you can need in time or in eternity, there is nothing living, nothing dying, there is nothing in this world, nothing in the next world, there is nothing now, nothing at the resurrection-morning, nothing in heaven which is not contained in this text — “I will never leave thee, nor forsake thee.

In the end, one is of course perfectly free to believe in the, so to speak, “just-there-ness” of the quantum order and of the physical laws governing it. I tend to see this as bordering upon a belief in magic, but that may be mere prejudice. What is absolutely certain is that the naturalist view of things is, as I have said, just a picture of the world, not a truth about the world that we can know, nor even a conviction that rests upon a secure rational foundation. The picture that naturalism gives us, at least at present, is twofold. On the one hand, the cosmos of space and time is a purely mechanistic reality that, if we are to be perfectly consistent, we must see as utterly deterministic: that is to say, to work a small variation on Laplace’s fantasy, if we could know the entire history of the physical events that compose the universe, from that first inflationary instant to the present, including the course of every particle, we would know also the ineluctable necessity of everything that led to and follows from the present; even what we take to be free acts of the will would be revealed as the inevitable results of physical forces reaching all the way back to the beginning of all things. On the other hand, this deterministic machine floats upon a quantum flux of ceaseless spontaneity and infinite indeterminacy. Together, these two orders close reality within a dialectical totality—a perfect union of destiny and chance, absolute determinism and pure fortuity—hermetically sealed against all transcendence. And yet, once again, the picture is radically incomplete, not only because it is unlikely that the classical Newtonian universe and the universe of quantum theory can be fitted together so seamlessly, but because neither level of reality explains the existence of the other, or of itself. And, also once again, nothing we know obliges us to find this picture more convincing than one in which higher causes (among which we might, for instance, include free will) operate upon lower, or in which all physical reality is open to a transcendent order that reveals itself in the very existence of nature.

Rhythm is what we beat our feet to. It is “the time relationship between tunes.

In a study of over 15,000 classical music compositions, the more pieces a composer produced in a given five-year window, the greater the spike in the odds of a hit.

I love music passionately. And because I love it, I try to free it from barren traditions that stifle it.

The works that Johann Sebastian Bach has left us, are a priceless national heritage, of a kind that no other race possesses.

... and this man, the greatest musical poet and the greatest musical rhetorician that has ever existed, and probably that ever will exist, was a German. Be proud of him, oh Fatherland, be proud of him, but also be worthy of him!

The century of airplanes deserves its own music. As there are no precedents, I must create anew.

Civil society is, indeed, composed of individuals, acting freely.... But freedom entails responsibility, founded in the sentiments of sympathy that make us strive to look on our own and others' conduct from the standpoint of the impartial judge. The institutions of law and government exist in order to assign responsibilities and to ensure that they are not evaded or abused. Of course, this is something that liberals [(i.e. classical liberal)] too will acknowledge. But the difference of emphasis is crucial to the conservative position. Conservatism is about freedom, yes. But it is also about the institutions and attitudes that shape the responsible citizen, and ensure that freedom is a benefit to us all. Conservatism is therefore also about the limits to freedom.

When he’d first tried his hand at jazz, it was a mess. Like most classically trained musicians who relied on strict training, he was most comfortable following the road map that a composer laid out. Ray would pour himself onto the classical route, which had clear signposts and a yellow line down one side. With jazz, there were no signs; the GPS just said, “Go.” Jazz charts provided a simple melody he was just supposed to riff from—he wanted to read every note, lock in on each finger pattern. How would he even begin? He started by listening to the opening melody of a song, then adding a few notes in the same key, then changing the key for a while, then somehow, miraculously, returning to the original key, all while making it seem effortless. This took a lot of practice. When he thought he had it, he had to think again. It was fun, challenging, and exercised new muscles in his playing.

I have noticed that many intellectuals turn themselves off the instant they are confronted with the words witchcraft, magic, occultism, and religion, as if such ideas exert a dangerous power that might weaken their rational faculties. Yet many of these people maintain a generous openness about visionaries, poets, and artists, some of whom may be quite mad according to “rational” standards. They are fascinated by people of diverse professions and lifestyles who have historical ties with, let us say, the Transcendentalists or the Surrealists, as long as the word occult is not mentioned. If Neo-Paganism were presented as an intellectual and artistic movement whose adherents have new perceptions of the nature of reality, the place of whose adherents have new perceptions of the nature of reality, the place of sexuality, and the meaning of community, academics would flock to study it. Political philosophers would write articles on the Neo-Pagans’ sense of wonder and the minority vision they represent. Literary critics would compare the poetic images in the small magazines published and distributed by the groups with images in the writings of Blake and Whitman. Jungian psychologists would rush to study the Neo-Pagans’ use of ancient archetypes and their love of the classics and ancient lore. But words like witch and pagan do not rest easily in the mind or on the tongue. Although reporting on Paganism and Wicca has improved in the last decade, pop journalists often still present a Neo-Paganism composed of strange characters and weird rites

The important point here is that music for the Greeks and the wider classical tradition was not so much understood as something performed, composed, practiced, or played; rather, music was interpreted as a mathematical discipline that sought to discover and formalize the symmetrical relations between sounds.6 It was an integral component to the mathematical disciplines that comprised the quadrivium: arithmetic, geometry, music, and astronomy. For the classical mind, arithmetic revealed “number in itself,” geometry revealed “number in space,” music revealed “number in time,” and astronomy revealed “number in space and time.” In this sense, music was an integral part of the Greek educational curriculum which functioned as a metaphor for this whole cosmic chain of interrelationships and harmonies. Indeed, Plato could say: “The whole choral art is also in our view the whole of education” (Laws, Bk II). The Greeks understood the nature of reality and its systems of relations in musical terms.