Good Orchestra Quotes

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Ourchestra: So you haven't got a drum, just beat your belly. So I haven't got a horn-I'll play my nose. So we haven't any cymbals- We'll just slap our hands together, And though there may be orchestras That sound a little better With their fancy shiny instruments That cost an awful lot- Hey, we're making music twice as good By playing what we've got!
Shel Silverstein
The whole world is a theatre for the display of the divine goodness, wisdom, justice, and power, but the Church is the orchestra, as it were—the most conspicuous part of it; and the nearer the approaches are that God makes to us, the more intimate and condescending the communication of his benefits, the more attentively are we called to consider them.
John Calvin (Commentary on Psalms - Volume 5)
I heard the universe as an oratorio sung by a master choir of stars, accompanied by the orchestra of the planets and the percussion of satellites and moons. The aria they performed was a song to break the heart, full of tragic dissonance and deferred hope, and yet somewhere beneath it all was a piercing refrain of glory, glory, glory. And I sensed that not only the grand movements of the cosmos, but everything that had happened in my life, was a part of that song. Even the hurts that seemed most senseless, the mistakes I would have done anything to erase--nothing could make those things good, but good could still come out of them all the same, and in the end the oratorio would be no less beautiful for it.
R.J. Anderson (Ultraviolet (Ultraviolet, #1))
This, child, is our worship. To live and survive and play to God from the depths of our souls. This is the call that binds us. When we worship in the good times, it brings God joy. But worship in the midst of agony?” Her tongue clicked against the roof of her mouth and she shook her head. It was an action befitting the wisdom of the words she’d chosen. “That is authentic adoration of our Creator. An orchestra will worship together, as one body. As one song. A family must do no less.
Kristy Cambron (The Butterfly and the Violin (Hidden Masterpiece, #1))
And what good's a life that leaves nothing behind/Not a thought or a dream that might echo in time.
Trans-Siberian Orchestra
Some people are born with a vital and responsive energy. It not only enables them to keep abreast of the times; it qualifies them to furnish in their own personality a good bit of the motive power to the mad pace. They are fortunate beings. They do not need to apprehend the significance of things. They do not grow weary nor miss step, nor do they fall out of rank and sink by the wayside to be left contemplating the moving procession. Ah! that moving procession that has left me by the road-side! Its fantastic colors are more brilliant and beautiful than the sun on the undulating waters. What matter if souls and bodies are failing beneath the feet of the ever-pressing multitude! It moves with the majestic rhythm of the spheres. Its discordant clashes sweep upward in one harmonious tone that blends with the music of other worlds--to complete God's orchestra. It is greater than the stars--that moving procession of human energy; greater than the palpitating earth and the things growing thereon. Oh! I could weep at being left by the wayside; left with the grass and the clouds and a few dumb animals. True, I feel at home in the society of these symbols of life's immutability. In the procession I should feel the crushing feet, the clashing discords, the ruthless hands and stifling breath. I could not hear the rhythm of the march. Salve! ye dumb hearts. Let us be still and wait by the roadside.
Kate Chopin (The Awakening)
The mysterious manner in which this growing sense of unity commingles with a sense of utter goodness is worth noting. It arises by no effort of mine; rather does it come to me out of I know not where. Harmony appears gradually and flows through my whole being like music. An infinite tenderness takes possession of me, smoothing away the harsh cynicism which a reiterated experience of human ingratitude and human treachery has driven deeply into my temperament. I feel the fundamental benignity of Nature despite the apparent manifestation of ferocity. Like the sounds of every instrument in an orchestra that is in tune, all things and all people seem to drop into the sweet relationship that subsists within the Great Mother's own heart.
Paul Brunton (Hermit in the Himalayas: The Journal of a Lonely Exile)
Go to any small village anywhere in the world, and see what they remember. Everything. It's all there -- passed on like a precious piece of information, some secret imparted from one who knew to one who yearns to know. Taken good care of.
Alexander McCall Smith (La's Orchestra Saves the World)
The people welcome a new da yas if they were certain of liking it, the shopkeepers pull up their blinds serene in the expectation of good trade, the workers go happily to their work, the people who have sat up all night in night clubs go happily to their rest, the orchestra of motor-car horns, of clanking trams, of whistling policemen tunes up for the daily symphony, and everywhere is joy.
Nancy Mitford (The Pursuit of Love & Love in a Cold Climate (Radlett and Montdore, #1-2))
Gioacchino Rossini, the composer of William Tell and many other operas, had a good grasp of the relationship between music and food: “What love is to the heart, appetite is to the stomach. The stomach is the conductor that leads and livens up the great orchestra of our emotions.” If
Mihály Csíkszentmihályi (Flow: The Psychology of Optimal Experience)
The kind of voice that lets you believe in an alternate world of luxury and elegance and romance and string orchestras.
Dolly Alderton (Good Material)
Didn’t know anyone could see it,” Samuel said. “You know, Lee, I think of my life as a kind of music, not always good music but still having form and melody. And my life has not been a full orchestra for a long time now. A single note only—and that note unchanging sorrow. I’m not alone in my attitude, Lee. It seems to me that too many of us conceive of a life as ending in defeat.
John Steinbeck (East of Eden)
Over the years I have had much occasion to ponder this word, the intelligentsia. We are all very fond of including ourselves in it—but you see not all of us belong. In the Soviet Union this word has acquired a completely distorted meaning. They began to classify among the intelligentsia all those who don't work (and are afraid to) with their hands. All the Party, government, military, and trade union bureaucrats have been included. All bookkeepers and accountants—the mechanical slaves of Debit. All office employees. And with even greater ease we include here all teachers (even those who are no more than talking textbooks and have neither independent knowledge nor an independent view of education). All physicians, including those capable only of making doodles on the patients' case histories. And without the slightest hesitation all those who are only in the vicinity of editorial offices, publishing houses, cinema studios, and philharmonic orchestras are included here, not even to mention those who actually get published, make films, or pull a fiddle bow. And yet the truth is that not one of these criteria permits a person to be classified in the intelligentsia. If we do not want to lose this concept, we must not devalue it. The intellectual is not defined by professional pursuit and type of occupation. Nor are good upbringing and good family enough in themselves to produce and intellectual. An intellectual is a person whose interests in and preoccupation with the spiritual side of life are insistent and constant and not forced by external circumstances, even flying in the face of them. An intellectual is a person whose thought is nonimitative.
Aleksandr Solzhenitsyn (The Gulag Archipelago, 1918-1956: An Experiment in Literary Investigation, Books III-IV)
Better to work for one's self alone. The public is so stupid. Who reads? And what do they read? And what do they admire? Ah, blessed peaceful times of the past, blessed eras of powdered wigs! You lived with complete assurance, poised on your high heels, twirling your silver-headed canes! Beneath us the earth is trembling. Where can we place our fulcrum, even admitting that we possess the lever? The thing we all lack is not style, nor that dexterity of finger and bow known as talent. We have a large orchestra, a rich palette, a variety of resources. We know many more tricks and dodges, probably, than were ever known before. No; what we lack is the intrinsic principle, the soul of the thing, the very idea of the subject.We take notes, we make journeys: emptiness! Emptiness! We become scholars, archaeologists, historians, doctors, cobblers, connoisseurs. What good is all that? Where is the heart, the verve, the sap? Where to start out from? Where to go to?
Gustave Flaubert
I didn’t know anyone could see it,” Samuel said. “You know, Lee, I think of my life as a kind of music, not always good music but still having form and melody. And my life has not been a full orchestra for a long time now. A single note only—and that note unchanging sorrow. I’m not alone in my attitude, Lee. It seems to me that too many of us conceive of a life as ending in defeat.” Lee said, “Maybe everyone is too rich. I have noticed that there is no dissatisfaction like that of the rich. Feed a man, clothe him, put him in a good house, and he will die of despair.
John Steinbeck (East of Eden)
Sometimes it is the other way around. A white person is set down in our midst, but the contrast is just as sharp for me. For instance, when I sit in the drafty basement that is The New World Cabaret with a white person, my color comes. We enter chatting about any little nothing that we have in common and are seated by the jazz waiters. In the abrupt way that jazz orchestras have, this one plunges into a number. It loses no time in circumlocutions, but gets right down to business. It constricts the thorax and splits the heart with its tempo and narcotic harmonies. This orchestra grows rambunctious, rears on its hind legs and attacks the tonal veil with primitive fury, rending it, clawing it until it breaks through to the jungle beyond. I follow those heathen--follow them exultingly. I dance wildly inside myself; I yell within, I whoop; I shake my assegai above my head, I hurl it true to the mark yeeeeooww! I am in the jungle and living in the jungle way. My face is painted red and yellow and my body is painted blue. My pulse is throbbing like a war drum. I want to slaughter something--give pain, give death to what, I do not know. But the piece ends. The men of the orchestra wipe their lips and rest their fingers. I creep back slowly to the veneer we call civilization with the last tone and find the white friend sitting motionless in his seat, smoking calmly. "Good music they have here," he remarks, drumming the table with his fingertips. Music. The great blobs of purple and red emotion have not touched him. He has only heard what I felt. He is far away and I see him but dimly across the ocean and the continent that have fallen between us. He is so pale with his whiteness then and I am so colored.
Zora Neale Hurston (How it Feels to be Colored Me (American Roots))
Not enough, not enough,” whispered Korovyev, “look to the left at the first violins and give them a nod so that each one of them thinks you’ve recognized him individually. There are only world-famous celebrities here. Nod to that one at the first stand—that’s Vieuxtemps. That’s it, very good. Now on we go!” “Who’s the conductor?” asked Margarita as she flew away. “Johann Strauss!” cried the cat. “And may I be hanged on a liana in the tropical forest if such an orchestra has ever played at any ball! I’m the one who invited it! And take note, not one person fell ill, and not one declined.
Mikhail Bulgakov (The Master and Margarita)
We humans like to make out we’re in charge of things even when we’re not. A good example is an orchestra conductor. Would the orchestra really not know what to do without the fella waving that stick about? It wouldn’t be so bad if he played the maracas or tambourine whilst he waved the stick but he does nothing. If he got hit by a bus on the way to the gig, would it all have to be cancelled because he wasn’t there? There’s a band called Polyphonic Spree that has over twenty members and they ain’t got a conductor. He’s as unnecessary as the bloke who wears white gloves on the national lottery programme.
Karl Pilkington (The Further Adventures of an Idiot Abroad)
Bucket had started his criminal career in Braas, not far from when Allan and his new friends now found themselves. There he had gotten together with some like-minded peers and started the motorcycle club called The Violence. Bucket was the leader; he decided which newsstand was to be robbed of cigarettes next. He was the one who has chosen the name- The Violence, in English, not swedish. And he was the one who unfortunately asked his girlfriend Isabella to sew the name of the motorcycle club onto ten newly stolen leather jackets. Isabella had never really learned to spell properly at school, not in Swedish, and certainly not in English. The result was that Isabella sewed The Violins on the jackets instead. As the rest of the club members had had similar academic success, nobody in the group noticed the mistake. So everyone was very surprised when one day a letter arrived for The Violins in Braas from the people in charge of the concert hall in Vaxjo. The letter suggested that, since the club obviously concerned itself with classical music, they might like to put in am appearance at a concert with the city’s prestigious chamber orchestra, Musica Viate. Bucket felt provoked; somebody was clearly making fun of him. One night he skipped the newsstand, and instead went into Vaxjo to throw a brick through the glass door of the concert hall. This was intended to teach the people responsible lesson in respect. It all went well, except that Bucket’s leather glove happened to follow the stone into the lobby. Since the alarm went off immediately, Bucket felt it would be unwise to try to retrieve the personal item in question. Losing the glove was not good. Bucket had traveled to Vaxjo by motorbike and one hand was extremely cold all the way home to Braas that night. Even worse was the fact that Bucket’s luckless girlfriend had written Bucket’s name and adress inside the glove, in case he lost it." For more quotes from the novel visit my blog: frommybooks.wordpress.com
Jonas Jonasson (The Hundred-Year-Old Man Who Climbed Out of the Window and Disappeared (The Hundred-Year-Old Man, #1))
You shop in supermarkets, you say good morning to friends on the telephone, you hear symphony orchestras on the radio. But suddenly the music stops and a terrorist bomb is reported. A new explosion outside a coffee shop on the Jaffa Road: six young people killed and thirty-eight more wounded. Pained, you put down your civilized drink.
Saul Bellow (To Jerusalem and Back)
I'd finally reached the end of myself, all my self-reliance and denial and pride unraveling into nothingness, leaving only a blank Alison-shaped space behind. It was finished. I was done. But just as I felt myself dissolving on the tide of my own self-condemnation, the dark waves receded, and I floated into a celestial calm. I saw the whole universe laid out before me, a vast shining machine of indescribable beauty and complexity. Its design was too intricate for me to understand, and I knew I could never begin to grasp more than the smallest idea of its purpose. But I sensed that every part of it, from quark to quasar, was unique and - in some mysterious way - significant. I heard the universe as an oratorio sung by a master choir of stars, accompanied by the orchestra of the planets and the percussion of satellites and moons. The aria they performed was a song to break the heart, full of tragic dissonance and deferred hope, and yet somewhere beneath it all was a peircing refrain of glory, glory, glory. And I sensed that not only the grand movements of the cosmos, but everything that had happened in my life, was a part of that song. Even the hurts that seemed most senseless, the mistakes I would have done anything to erase - nothing could make those things good, but good could still come out of them all the same, and in the end the oratorio would be no less beautiful for it. I realized then that even though I was a tiny speck in an infinite cosmos, a blip on the timeline of eternity, I was not without purpose. And as long as I had a part in the music of the spheres, even if it was only a single grace not, I was not worthless. Nor was I alone. God help me, I prayed as I gathered up my raw and weary sense, flung them into the wormhole - And at last, found what I'd been looking for.
R.J. Anderson (Ultraviolet (Ultraviolet, #1))
As a conductor of orchestras, Ozawa is quite naturally in touch with a large number of people on a daily basis and has to act as the guiding member of a team. But no matter how talented he might be, people would not follow him if he were constantly moody and difficult. Interpersonal relations take on a great significance. A conductor needs like-minded musical colleagues, and he is often called upon to perform social and even entrepreneurial tasks. He has to give much thought to his audiences. And as a musician, he has to devote a good deal of energy to the guidance of the next generation. By contrast, as a novelist I am free to spend my life hardly seeing or talking to anyone for days at a time, and never appearing in the media. I rarely have to do anything that involves teamwork, and while it’s best to have some colleagues, I don’t especially need any. I just have to stay in the house and write—alone. The thought of guiding the next generation has never crossed my mind, I’m sorry to say (not that anyone has ever asked me to do such a thing).
Haruki Murakami (Absolutely on Music: Conversations with Seiji Ozawa)
People are too emotional about communism, or rather, about their own Communist Parties, to think about a subject that one day will be a subject for sociologists. Which is, the social activities that go on as a direct or indirect result of the existence of a Communist Party. People or groups of people who don’t even know it have been inspired, or animated, or given a new push into life because of the Communist Party, and this is true of all countries where there has been even a tiny Communist Party. In our own small town, a year after Russia entered the war, and the left had recovered because of it, there had come into existence (apart from the direct activities of the Party which is not what I am talking about) a small orchestra, readers’ circles, two dramatic groups, a film society, an amateur survey of the conditions of urban African children which, when it was published, stirred the white conscience and was the beginning of a long-overdue sense of guilt, and half a dozen discussion groups on African problems. For the first time in its existence there was something like a cultural life in that town. And it was enjoyed by hundreds of people who knew of the communists only as a group of people to hate. And of course a good many of these phenomena were disapproved of by the communists themselves, then at their most energetic and dogmatic. Yet the communists had inspired them because a dedicated faith in humanity spreads ripples in all directions.
Doris Lessing (The Golden Notebook)
Dear Peter K, First of all I refuse to call you Kavinsky. You think you’re so cool, going by your last name all of a sudden. Just so you know, Kavinsky sounds like the name of an old man with a long white beard. Did you know that when you kissed me, I would come to love you? Sometimes I think yes. Definitely yes. You know why? Because you think EVERYONE loves you, Peter. That’s what I hate about you. Because everyone does love you. Including me. I did. Not anymore. Here are all your worst qualities: You burp and you don’t say excuse me. You just assume everyone else will find it charming. And if they don’t, who cares, right? Wrong! You do care. You care a lot about what people think of you. You always take the last piece of pizza. You never ask if anyone else wants it. That’s rude. You’re so good at everything. Too good. You could’ve given other guys a chance to be good, but you never did. You kissed me for no reason. Even though I knew you liked Gen, and you knew you liked Gen, and Gen knew you liked Gen. But you still did it. Just because you could. I really want to know: Why would you do that to me? My first kiss was supposed to be something special. I’ve read about it, what it’s supposed to feel like00fireworks and lightning bolts and the sound of waves crashing in your ears. I didn’t have any of that. Thanks to you it was as unspecial as a kiss could be. The worst part of it is, that stupid nothing kiss is what made me start liking you. I never did before. I never even thought about you before. Gen has always said that you are the best-looking boy in our grade, and I agreed, because sure, you are. But I still didn’t see the allure of you. Plenty of people are good-looking. That doesn’t make them interesting or intriguing or cool. Maybe that’s why you kissed me. To do mind control on me, to make me see you that way. It worked. Your little trick worked. From then on, I saw you. Up close, your face wasn’t so much handsome as beautiful. How many beautiful boys have you ever seen? For me it was just one. You. I think it’s a lot to do with your lashes. You have really long lashes. Unfairly long. Even though you don’t deserve it, fine, I’ll go into all the things I like(d) about you: One time in science, nobody wanted to be partners with Jeffrey Suttleman because he has BO, and you volunteered like it was no big deal. Suddenly everybody thought Jeffrey wasn’t so bad. You’re still in chorus, even though all the other boys take band and orchestra now. You even sing solos. And you dance, and you’re not embarrassed. You were the last boy to get tall. And now you’re the tallest, but it’s like you earned it. Also, when you were short, no one even cared that you were short--the girls still liked you and the boys still picked you first for basketball in gym. After you kissed me, I liked you for the rest of seventh grade and most of eighth. It hasn’t been easy, watching you with Gen, holding hands and making out at the bus stop. You probably make her feel very special. Because that’s your talent, right? You’re good at making people feel special. Do you know what it’s like to like someone so much you can’t stand it and know that they’ll never feel the same way? Probably not. People like you don’t have to suffer through those kinds of things. It was easier after Gen moved and we stopped being friends. At least then I didn’t have to hear about it. And now that the year is almost over, I know for sure that I am also over you. I’m immune to you now, Peter. I’m really proud to say that I’m the only girl in this school who has been immunized to the charms of Peter Kavinsky. All because I had a really bad dose of you in seventh grade and most of eighth. Now I never ever have to worry about catching you again. What a relief! I bet if I did ever kiss you again, I would definitely catch something, and it wouldn’t be love. It would be an STD! Lara Jean Song
Jenny Han (To All the Boys I've Loved Before (To All the Boys I've Loved Before, #1))
Good luck. For most of my generation, it would just go to student debt and cocktails. If anything came to me (an impossibility), I would dump it into a poorly managed career in edgy luxury items. You can’t make opera money on perfume that smells like cunts and gasoline. At any rate, I didn’t usually make an appearance beyond the gala. Or, I hadn’t until recently. But Joseph Eisner had promised me a fortune, and now he wouldn’t take my calls. He did, however, like his chamber music. It had been an acquired taste for me. In my distant undergraduate past, when circumstance sat me in front of an ensemble, I spent the first five minutes of each concert deciding which musician I would fuck if I had the chance, and the rest shifting minutely in my seat. I still couldn’t stand Chanel. And while I had learned to appreciate—indeed, enjoy—chamber ensembles, orchestras, and on occasion even the opera, I retained my former habit as a dirty amusement to add some private savor to the proceedings. Tonight, it was the violist, weaving and bobbing his way through Dvořák’s Terzetto in C Major like a sinuous dancer. I prefer the romantics—fewer hair-raising harmonies than modern fare, and certainly more engaging than funereal baroque. The intriguing arrangement of the terzetto kept me engaged, in that slightly detached and floating manner engendered by instrumental performance. Moreover, the woman to my left, one row ahead, was wearing Salome by Papillon. The simple fact of anyone wearing such a scent in public pleased me. So few people dared wear anything at all these days, and when they did, it was inevitably staid: an inoffensive classic or antiseptic citrus-and-powder. But this perfume was one I might have worn myself. Jasmine, yes, but more indolic than your average floral. People sometimes say it smells like dirty panties. As the trio wrapped up for intermission, I took a steadying breath of musk and straightened my lapels. The music was only a means to an end, after all.
Lara Elena Donnelly (Base Notes)
Lieutenant Jaxon Knight replied, “No sir. D-L1 is the only jumpgate with a pending arrival and it is due in an hour, and it is just some civilian traffic. I'm not detecting them on the hyperNEP relays, and I really doubt they are an hour early.” Captain Devereaux stood up. “Has there been any pirate activity or anything else of note in this sector? Can you get a fix on the fluctuations? How far are they?” Lieutenant Commander Ember Skyrift replied, “It's been quiet, sir, no pirate activity. I can't get a good lock on the flux. The wake is big, at least one large warship. And, sir, it's heading rim-trailward.
Charles Nall (Orchestra of Shadows)
As the conductor played her A, I strained to listen to my cello’s A. I could hear that it was off—my ear was that good—but I wasn’t sure if I was too high or too low. I suddenly remembered a trick that
Ari L. Goldman (The Late Starters Orchestra)
evil that looks like evil couldn't be as evil as evil that looks like your friend. We can see the bad guy in most films from miles away. Real evil doesn't come at us with a scar over its eye or with a hook for an arm. We don't hear a sinister orchestra play when it walks into the room. In real life, we are on our own to sort out what is evil and what is good and to decide if those terms are cleanly divisible from each other.
Scott Berkun (The Ghost of My Father)
Working with living creatures, both plant and animal, is what makes agriculture different from any other production enterprise. Even though a product is produced, in farming the process is anything but industrial. It is biological. We are dealing with a vital, living system rather than an inert manufacturing process. The skills required to manage a biological system are similar to those of the conductor of an orchestra. The musicians are all very good at what they do individually. The role of the conductor is not to play each instrument, but rather to nurture the union of the disparate parts. The conductor coordinates each musician's effort with those of all the others and combines them in a harmonious whole. Agriculture cannot be an industrial process any more than music can be.
Eliot Coleman (The New Organic Grower: A Master's Manual of Tools and Techniques for the Home and Market Gardener)
I regard my entire orchestra as one large instrument, and I try to play on that instrument to the fullest of its capabilities. My aim is and always has been to mold the music around the man. I’ve found out that it doesn’t matter so much what you have available, but rather what you make of what you do have—finding a good “fit” for every instrumentalist in the group. I study each man in the orchestra and find out what he can do best, and what he would like to do.
Gary Giddins (Visions of Jazz: The First Century)
The contrast between good and evil fades by diluting the essence of one or the other.
Craig Smedley (Quantum Orchestra: distorting the notes of reality)
So Good At Being In Trouble Now that youre gone Its been a long lonely time Its a long, sad lonely time Rolling along, I'm in a strange state of mind Its a strange old state of mind Memories they mess with my mind Who am I to deny She was so good at being in trouble So good at being in trouble So good at being in trouble So good at being in trouble So good at being in trouble So good at being in trouble So bad being in love Now that youre gone Its been a long lonely time Its a long, sad lonely time Rolling along, I'm in a strange state of mind Its a strange old state of mind Memories they mess with my mind Who am I to deny, to deny She was so good at being in trouble So good at being in trouble So good at being in trouble So good at being in trouble So good at being in trouble So good at being in trouble So bad being in love.
Unknown Mortal Orchestra
You must think me the veriest ninny,” she said, “not knowing how to dance.” “I think you’re very brave, actually, for admitting it.” His free hand found hers and slowly lifted it into the air. “Most women of my acquaintance would have feigned an injury or disinterest.” She looked up into his eyes even though she knew it would leave her breathless. “I haven’t the acting skills to feign disinterest,” she admitted. The hand at the small of her back tightened. “Listen to the music,” he instructed, his voice oddly hoarse. “Do you feel it rising and falling?” She shook her head. “Listen harder,” he whispered, his lips drawing closer to her ear. “One, two, three; one, two, three.” Sophie closed her eyes and somehow filtered out the endless chatter of the guests below them until all she heard was the soft swell of the music. Her breathing slowed, and she found herself swaying in time with the orchestra, her head rocking back and forth with Benedict’s softly uttered numerical instructions. “One, two, three; one two three.” “I feel it,” she whispered. He smiled. She wasn’t sure how she knew that; her eyes were still closed. But she felt the smile, heard it in the tenor of his breath. “Good,” he said. “Now watch my feet and allow me to lead you.” Sophie opened her eyes and looked down. “One, two, three; one, two, three.” Hesitantly, she stepped along with him— right onto his foot. “Oh! I’m sorry!” she blurted out. “My sisters have done far worse,” he assured her. “Don’t give up.” She tried again, and suddenly her feet knew what to do. “Oh!” she breathed in surprise. “This is wonderful!” “Look up,” he ordered gently. “But I’ll stumble.” “You won’t,” he promised. “I won’t let you. Look into my eyes.” Sophie did as he asked, and the moment her eyes touched his, something inside her seemed to lock into place, and she could not look away. He twirled her in circles and spirals around the terrace, slowly at first, then picking up speed, until she was breathless and giddy. And all the while, her eyes remained locked on his. “What do you feel?” he asked. “Everything!” she said, laughing. “What do you hear?” “The music.” Her eyes widened with excitement. “I hear the music as I’ve never heard it before.” His hands tightened, and the space between them diminished by several inches. “What do you see?” he asked. Sophie stumbled, but she never took her eyes off his. “My soul,” she whispered. “I see my very soul.” He stopped dancing. “What did you say?” he whispered. She held silent. The moment seemed too charged, too meaningful, and she was afraid she’d spoil it. No, that wasn’t true. She was afraid she’d make it even better, and that would make it hurt all the more when she returned to reality at midnight. How on earth was she going to go back to polishing Araminta’s shoes after this? “I know what you said,” Benedict said hoarsely. “I heard you, and—” “Don’t say anything,” Sophie cut in. She didn’t want him to tell her that he felt the same way, didn’t want to hear anything that would leave her pining for this man forever. But it was probably already too late for that. He stared at her for an agonizingly long moment, then murmured, “I won’t speak. I won’t say a word.” And then, before she even had a second to breathe, his lips were on hers, exquisitely gentle and achingly tender. -Sophie & Benedict
Julia Quinn (An Offer From a Gentleman (Bridgertons, #3))
I think of my life as a kind of music, not always good music but still having form and melody. And my life has not been a full orchestra for a long time now. A single note only - and that note unchanging sorrow. I'm not alone in my attitude, Lee. It seems to me that too many of us conceive of a life as ending in defeat.
John Steinbeck
I think of my life as a kind of music, not always good music but still having form and melody. And my life has not been a full orchestra for a long time now. A single note only - and that note unchanging sorrow. I'm not alone in my attitude, Lee, It seems to me that too many of us conceive of a life as ending in defeat.
John Steinbeck (East of Eden)
Hannah had no ear for music, she thought, pulling out one of the combs. Of course, no one liked that jazz music, but Hannah ought to know enough to get some good orchestra. Jazz was terrible. Even a radio play was better than that awful boom-boom.
Samuel M. Steward (Angels on the Bough)
think of my life as a kind of music, not always good music but still having form and melody. And my life has not been a full orchestra for a long time now. A single note only—and that note unchanging sorrow.
John Steinbeck (East of Eden)
Egbunu, I must say that it wasn’t that he responded this way to every woman’s voice, but her voice sounded strangely familiar to him. Although he did not know it, I knew that it reminded him of his mother. At once he saw a plump, swarthy woman who looked his age. She was sweating in the hot sun, and the sweat shimmered along her legs. She carried a tray filled with groundnuts on her head. She was one of the poor—the class of people who had been created by the new civilization. In the time of the old fathers only the lazy, indolent, infirm, or accursed lacked, but now most people did. Go into the streets, into the heart of any market in Alaigbo, and you’ll find toiling men, men whose hands are as hard as stones and whose clothes are drenched in sweat, living in abject poverty. When the White Man came, he brought good things. When they saw the car, the children of the fathers cried out in amusement. The bridges? “Oh, how wonderful!” they said. “Isn’t this one of the wonders of the world?” they said of the radio. Instead of simply neglecting the civilization of their blessed fathers, they destroyed it. They rushed to the cities—Lagos, Port Harcourt, Enugu, Kano—only to find that the good things were in short supply. “Where are the cars for us?” they asked at the gates of these cities. “Only a few have them!” “What about the good jobs, the ones whose workers sit under air conditioners and wear long ties?” “Ah, they are only for those who have studied for years in a university, and even then, you’d still have to compete with the multitude of others with the same qualifications.” So, dejected, the children of the fathers turned back and returned. But to where? To the ruins of the structure they had destroyed. So they live on the bare minimum, and this is why you see people like this woman who walk the length and breadth of the city hawking groundnuts.
Chigozie Obioma (An Orchestra of Minorities)
The audience for Channel 28, the PBS station in Los Angeles, was demographically perfect for Trader Joe’s. In those days, however, PBS did not accept overt commercials. Alice had been quite active as a volunteer at the station. Through her contacts, we made arrangements to sponsor reruns of shows that tied to Trader Joe’s, such as the Julia Child shows, The Galloping Gourmet, and Barbara Wodehouse’s series on training dogs, which proved very effective! These reruns were not expensive compared with sponsoring first-runs and they had very good audiences. All we got was a “billboard” announcing that Trader Joe’s was sponsoring the show, but this was a cost-effective way of building our presence in the community. Another way we promoted ourselves on public TV was to “man the phones” during pledge drives. Our employees, led by Robin Guentert who was running advertising at that time (Robin became one of the most important members of store supervision after 1982, then President of Trader Joe’s in 2002), would show up en masse at the station. They loved being on TV, and we got the publicity. Promoting through Nonprofits Most retailers, when they’re approached by charities for donations, do their best to stiff-arm the would-be donees, or ask that a grueling series of requirements need to be met. In general they hate giving except to big, organized charities like United Way, because that way they escape being solicited by all sorts of uncomfortable pressure groups. At the very beginning of Trader Joe’s, however, we adopted a policy of using non-profit giving as an advertising and promotional tool. We established these policies: Never give cash to anyone. Never buy space in a program. That is money thrown away. Give freely, give generously, but only to nonprofits that are focused on the overeducated and underpaid. Any museum opening, any art gallery opening, any hospital auxiliary benefit, any college alumni gathering, the American Association of University Women, the Assistance League, any chamber orchestra benefit—their requests got a very warm welcome. But nothing for Little League, Pop Warner, et al.; that was not what Trader Joe’s was about.
Joe Coulombe (Becoming Trader Joe: How I Did Business My Way and Still Beat the Big Guys)
Jealous—Labrinth when the party’s over—Billie Eilish White Rabbit—Jefferson Airplane Piano Man—Billy Joel Iris—The Goo Goo Dolls To Build a Home—The Cinematic Orchestra The Good Side—Troye Sivan Nevermind—Dennis Lloyd What It’s Like—Everlast Hi-Lo (Hollow)—Bishop Briggs bury a friend—Billie Eilish Sorry—Halsey
Danielle Lori (The Maddest Obsession (Made, #2))
Cas sighed. ‘I guess,’ he shrugged. ‘Ever heard of the academic voice?’ The door opened. Jasper was dressed in stained clothes – day clothes. Gone was the robe and crusty night shirt. His bushy eyebrows shaded his milky eyes. ‘The academic voice?’ Jasper seemed to chew the bitter words. He squared his shoulders and cleared his throat. He raised his hand in front of him, moving it as he spoke as if he was conducting some invisible orchestra. ‘Hear my voice from on-high and tremble all ye oppressors of good sense and intellectual advancement. Heed my words, students: relinquish thine will and let me oppress thee instead, for he who is not under my heel cannot learn.’ His arm dropped to his side, and he seem to shrink slightly, as if elocution was the air in his lungs. ‘This voice you are looking for,’ he said quietly, ‘sounds like the slap of mortar on brick. It builds walls between those who think they know and those who thirst to know.
Marcel M. du Plessis (The Silent Symphony)
I had two great passions at the time: one magical and ethereal, which was reading, and the other mundane and predictable, which was pursuing silly love affairs. Concerning my literary ambitions, my successes went from slender to nonexistent. During those years I started a hundred woefully bad novels that died along the way, hundreds of short stories, plays, radio serials, and even poems that I wouldn't let anyone read, for their own good. I only needed to read them myself to see how much I still had to learn and what little progress I was making, despite the desire and enthusiasm I put into it. I was forever rereading Carax's novels and those of countless authors I borrowed from my parent's bookshop. I tried to pull them apart as if they were transistor radios, or the engine of a Rolls-Royce, hoping I would be able to figure out how they were built and how and why they worked. I'd read something in a newspaper about some Japanese engineers who practiced something called reverse engineering. Apparently these industrious gentlemen disassembled an engine to its last piece, analyzing the function of each bit, the dynamics of the whole, and the interior design of the device to work out the mathematics that supported its operation. My mother had a brother who worked as an engineer in Germany, so I told myself that there must be something in my genes that would allow me to do the same thing with a book or with a story. Every day I became more convinced that good literature has little or nothing to do with trivial fancies such as 'inspiration' or 'having something to tell' and more with the engineering of language, with the architecture of the narrative, with the painting of textures, with the timbres and colors of the staging, with the cinematography of words, and the music that can be produced by an orchestra of ideas. My second great occupation, or I should say my first, was far more suited to comedy, and at times touched on farce. There was a time in which I fell in love on a weekly basis, something that, in hindsight, I don't recommend. I fell in love with a look, a voice, and above all with what was tightly concealed under those fine-wool dresses worn by the young girls of my time. 'That isn't love, it's a fever,' Fermín would specify. 'At your age it is chemically impossible to tell the difference. Mother Nature brings on these tricks to repopulate the planet by injecting hormones and a raft of idiocies into young people's veins so there's enough cannon fodder available for them to reproduce like rabbits and at the same time sacrifice themselves in the name of whatever is parroted by bankers, clerics, and revolutionary visionaries in dire need of idealists, imbeciles, and other plagues that will prevent the world from evolving and make sure it always stays the same.
Carlos Ruiz Zafón
Flutes, you've got to - what's the word. You've got to be disgusting. Revoltingly cute. You should be pretty good at that, being flutes.
Kate Racculia (Bellweather Rhapsody)
Harold Rome traveled with us, starting in the lowest of jobs as a specialist in revue. This is music without story or character. But by the 1950s, Rome had abandoned revue, and in Fanny in particular he exploited the musical scene—writing, in effect, partway to opera. Now, in Gone With the Wind, Rome expanded into an intricate interlacing of speech and song—aided, I imagine, by the instincts of Joe Layton. Naturally, he would know enough to delay Rhett Butler’s entrance till the Atlanta ball, have him defiantly escort the black-clad Scarlett onto the floor, and let him rip into an establishing song, “Two of a Kind.” This better suited Presnell’s sexy scooping up to high notes than Roberts’ more limited instrument, but the climax really comes when the orchestra takes over as Rhett sweeps Scarlett around the stage and the good folk of Atlanta go off like astonished firecrackers.
Ethan Mordden (One More Kiss: The Broadway Musical in the 1970s (The History of the Broadway Musical Book 6))
Blesset was snoring, the book on the floor beside his bunk. I smiled. There’s nothing like a good biography to induce sleep.
J.J. Toner (The Black Orchestra Boxset - Books 1 - 3)
A school bus is many things. A school bus is a substitute for a limousine. More class. A school bus is a classroom with a substitute teacher. A school bus is the students' version of a teachers' lounge. A school bus is the principal's desk. A school bus is the nurse's cot. A school bus is an office with all the phones ringing. A school bus is a command center. A school bus is a pillow fort that rolls. A school bus is a tank reshaped- hot dogs and baloney are the same meat. A school bus is a science lab- hot dogs and baloney are the same meat. A school bus is a safe zone. A school bus is a war zone. A school bus is a concert hall. A school bus is a food court. A school bus is a court of law, all judges, all jury. A school bus is a magic show full of disappearing acts. Saw someone in half. Pick a card, any card. Pass it on to the person next to you. He like you. She like you. K-i-s-s-i . . . s-s-i-p-p-i is only funny on a school bus. A school bus is a stage. A school bus is a stage play. A school bus is a spelling bee. A speaking bee. A get your hand out of my face bee. A your breath smell like sour turnips bee. A you don't even know what a turnip bee is. A maybe not, but I know what a turn up is and your breath smell all the way turnt up bee. A school bus is a bumblebee, buzzing around with a bunch of stingers on the inside of it. Windows for wings that flutter up and down like the windows inside Chinese restaurants and post offices in neighborhoods where school bus is a book of stamps. Passing mail through windows. Notes in the form of candy wrappers telling the street something sweet came by. Notes in the form of sneaky middle fingers. Notes in the form of fingers pointing at the world zooming by. A school bus is a paintbrush painting the world a blurry brushstroke. A school bus is also wet paint. Good for adding an extra coat, but it will dirty you if you lean against it, if you get too comfortable. A school bus is a reclining chair. In the kitchen. Nothing cool about it but makes perfect sense. A school bus is a dirty fridge. A school bus is cheese. A school bus is a ketchup packet with a tiny hole in it. Left on the seat. A plastic fork-knife-spoon. A paper tube around a straw. That straw will puncture the lid on things, make the world drink something with some fizz and fight. Something delightful and uncomfortable. Something that will stain. And cause gas. A school bus is a fast food joint with extra value and no food. Order taken. Take a number. Send a text to the person sitting next to you. There is so much trouble to get into. Have you ever thought about opening the back door? My mother not home till five thirty. I can't. I got dance practice at four. A school bus is a talent show. I got dance practice right now. On this bus. A school bus is a microphone. A beat machine. A recording booth. A school bus is a horn section. A rhythm section. An orchestra pit. A balcony to shot paper ball three-pointers from. A school bus is a basketball court. A football stadium. A soccer field. Sometimes a boxing ring. A school bus is a movie set. Actors, directors, producers, script. Scenes. Settings. Motivations. Action! Cut. Your fake tears look real. These are real tears. But I thought we were making a comedy. A school bus is a misunderstanding. A school bus is a masterpiece that everyone pretends to understand. A school bus is the mountain range behind Mona Lisa. The Sphinx's nose. An unknown wonder of the world. An unknown wonder to Canton Post, who heard bus riders talk about their journeys to and from school. But to Canton, a school bus is also a cannonball. A thing that almost destroyed him. Almost made him motherless.
Jason Reynolds (Look Both Ways: A Tale Told in Ten Blocks)
I was hoping Lady Anders might do me the honor of the supper waltz,” Hazlit said. The smile he aimed at Helene dazzled, for all it didn’t reach his eyes. “I promised this set to my brother,” Lady Helene replied, her show of regret equally superficial. “Perhaps you’d lead Miss Windham out in my stead? She’s been sitting here this age, good enough to keep a widow company amid all this gaiety.” Maggie glanced at her friend but saw only devilment in Helene’s eyes. “Lady Magdalene?” Hazlit held out a gloved hand. “May I have this dance?” The smile dimmed on his handsome face, and his gaze held hers. As much to get away from his inspection as anything, Maggie put her hand in his and rose. “I would be honored.” “Lady Helene, my thanks,” he said, holding up his left hand for Maggie to place her fingers over his knuckles. And it would be a blasted waltz. “You do not look honored,” he said, leading her to a position on the floor. “You look like you’re plotting the end of an association with Lady Anders.” “Helene has a peculiar sense of humor, but she knows I will retaliate at some point. I’ll make her dance with His Grace or perhaps with Deene.” “That would set tongues wagging.” He held out his left hand for Maggie to place her right in it. When she hesitated, he put her left hand on his shoulder, and took her right in his. “Really, Lady Magdalene, am I so offensive as all that? Your parents allow me under their roof, and your sister was happy enough to marry my half brother.” His hand at her waist was warm, even through her gown and stays. “You enjoy being difficult,” Maggie said as the orchestra began the introduction. “It isn’t becoming in a grown man. I’d take offense but I suspect you’re like this with most everybody.” “I can be charming.” “When it suits your purpose,” she said as the music began. “That isn’t charm, Mr. Hazlit. That is guile.” His
Grace Burrowes (Lady Maggie's Secret Scandal (The Duke's Daughters, #2; Windham, #5))
Everyday I became more convinced that good literature has little or nothing to do with trivial fancies such as “inspiration” or “having something to tell” and more with the engineering of language, with the architecture of narrative , with the painting of texture, with the timrbres and colors of the staging. With the cinematography of words, and the music that can be produced by an orchestra of ideas
Carlos Ruiz Zafón
Cantor’s 60-minute C&S shows were largely carried by himself, Wallington, and violinist Dave Rubinoff, with occasional guests. Rubinoff supposedly led the orchestra. It was typical early ’30s variety: Cantor singing and mugging, situation skits, orchestra numbers, violin solos. Rubinoff’s segments were billed as “Rubinoff and His Violin,” and his radio-fed fame in those days was greater than that of most noted concert violinists. He “was a good violinist rather than a great violinist,” Cantor wrote years later: but Rubinoff was “a showman who gave the impression of being all the great violinists put together.” His Russian accent was so formidable that he did not speak on the air. In the early days, Cantor did Rubinoff’s lines: he would ask a question in his natural voice and answer it with a Russian accent. Cantor played every conceivable dialect, from “an Irish policeman to a Swedish cook.” Later he hired people for his skits: Teddy Bergman (Alan Reed) and Lionel Stander played dialects, including the Rubinoff role.
John Dunning (On the Air: The Encyclopedia of Old-Time Radio)
The listener was absorbed by the sounds of Broadway: the car horns, police whistles, the people milling about. Up Broadway to 42nd Street, where an attendant shouted, “Have your tickets ready, please! have your tickets ready, please! … Good evening, Mr. First Nighter, the usher will show you to your box.” Then, in the “fourth-row center” seats, the First Nighter gave a quick reading of the program—title, cast, author—and the “famous First Nighter orchestra” played a few bars of music. An usher came down the aisle, shouting “Curtain! Curtain!” Buzzers sounded. Ushers reminded people that smoking was permitted in the lobby only. Then, listeners were told, the lights were dimmed and the play began. Afterward, the effect was reversed, with Mr. First Nighter weaving his way through the still-humming crowd and melting away into the street.
John Dunning (On the Air: The Encyclopedia of Old-Time Radio)
Smiling to myself, I pictured our family one sunny afternoon last fall. It had been a warm day, and we were on our way to the city aquarium. Dad had the car windows rolled down, and I recalled the feel of the wind in my hair and the scent of Mom’s perfume wafting from the seat in front of me. Mom and Dad were chatting and I was scrolling through my Instagram feed. But the moment the song sounded on the radio, I squealed. “Turn it up!” I said, leaning forward in my seat, enough that the belt tightened across my chest. As soon as Dad reached over and turned the knob, I started singing the lyrics aloud. Both Mom and Dad joined in. With the wind in my hair and the music filling the car, a warmth had filled my insides, almost as if I were wrapped in my favorite fuzzy blanket. The memory was fresh in my mind and I could still see Mom’s head bob up and down as she sang while Dad tapped his fingers on the steering wheel. “Come on, Dad!” I said, giggling. “Sing with us.” He glanced over his shoulder at me. “I’m waiting for my favorite part. I don’t want to stretch my singing muscles.” “What singing muscles?” Mom smiled at him. He put a finger in the air for her to wait. “Here we go.” When the chorus of the song began, Dad screeched out the lyrics in a really high voice. He was trying to mimic the singer’s voice but he wasn’t even close and the sound he made was terrible. I burst out laughing. He ignored me and continued to sing, all the while, waving a hand through the air with wide flourishes, as if conducting an orchestra. He tilted his head back and belted out the high notes. When we pulled up at a red traffic light and the car slowed to a stop, Dad was oblivious of the carload of people alongside us watching him. The passengers of the other car had their windows open too and I stared at them in horror. Their eyes were glued to Dad and they shook their heads and rolled their eyes. “Dad!” I called to him. “Those people are watching you.” But he didn’t hear me and continued to sing. I sank into my seat, my cheeks flushing. He finally realized he had an audience but instead of being embarrassed, he waved to them. “Hello, there!” he said. “Did you enjoy my singing?” The light turned green, and the carload of people cracked up laughing as their car lurched forward in their hurry to escape the weird man in the car next to theirs. Dad shrugged. “I guess not.’ Mom and I burst out laughing too, unable to hold it in any longer. Dad waved a dismissive hand. “They wouldn’t know good music if it hit them in the face.” Tears sprang from my eyes because I was laughing so hard. My dad could be so embarrassing sometimes, but that day, it didn’t bother me at all. Dad had always managed to make me laugh at the silliest things. He had a way of making me feel happy, regardless of what mood I was in. Deep down I thought he was a really cool dad. My friends thought so too. He wasn’t boring and super strict like their dads. He was fun to be around and everyone loved him for it, including my friends. Our little family was perfect, and I wouldn’t have changed it for the world.
Katrina Kahler (The Lost Girl - Part One: Books 1, 2 and 3: Books for Girls Aged 9-12)
11 — I have explained where Wagner belongs—not in the history of music. What does he signify nevertheless in that history? The emergence of the actor in music: a capital event that invites thought, perhaps also fear. In a formula: "Wagner and Liszt."— Never yet has the integrity of musicians, their "authenticity," been put to the test so dangerously. One can grasp it with one's very hands: great success, success with the masses no longer sides with those who are authentic,—one has to be an actor to achieve that!— Victor Hugo and Richard Wagner—they both prove one and the same thing: that in declining civilizations, wherever the mob is allowed to decide, genuineness becomes superfluous, prejudicial, unfavorable. The actor, alone, can still kindle great enthusiasm.— And thus it is his golden age which is now dawning—his and that of all those who are in any way related to him. With drums and fifes, Wagner marches at the head of all artists in declamation, in display and virtuosity. He began by convincing the conductors of orchestras, the scene-shifters and stage-singers, not to forget the orchestra:—he "redeemed" them from monotony .... The movement that Wagner created has spread even to the land of knowledge: whole sciences pertaining to music are rising slowly, out of centuries of scholasticism. As an example of what I mean, let me point more particularly to Riemann's [Hugo Riemann (1849-1919): music theoretician] services to rhythmic; he was the first who called attention to the leading idea in punctuation—even for music (unfortunately he did so with a bad word; he called it "phrasing"). All these people, and I say it with gratitude, are the best, the most respectable among Wagner's admirers—they have a perfect right to honor Wagner. The same instinct unites them with one another; in him they recognize their highest type, and since he has inflamed them with his own ardor they feel themselves transformed into power, even into great power. In this quarter, if anywhere, Wagner's influence has really been beneficial. Never before has there been so much thinking, willing, and industry in this sphere. Wagner endowed all these artists with a new conscience: what they now exact and obtain from themselves, they had never extracted before Wagner's time—before then they had been too modest. Another spirit prevails on the stage since Wagner rules there: the most difficult things are expected, blame is severe, praise very scarce—the good and the excellent have become the rule. Taste is no longer necessary, nor even is a good voice. Wagner is sung only with ruined voices: this has a more "dramatic" effect. Even talent is out of the question. Expressiveness at all costs, which is what the Wagnerian ideal—the ideal of décadence—demands, is hardly compatible with talent. All that is required for this is virtue—that is to say, training, automatism, "self-denial." Neither taste, voices, nor gifts: Wagner's stage requires one thing only—Teutons! ... Definition of the Teuton: obedience and long legs ... It is full of profound significance that the arrival of Wagner coincides in time with the arrival of the "Reich": both actualities prove the very same thing: obedience and long legs.— Never has obedience been better, never has commanding. Wagnerian conductors in particular are worthy of an age that posterity will call one day, with awed respect, the classical age of war. Wagner understood how to command; in this, too, he was the great teacher. He commanded as the inexorable will to himself, as lifelong self-discipline: Wagner who furnishes perhaps the greatest example of self-violation in the history of art (—even Alfieri, who in other respects is his next-of-kin, is outdone by him. The note of a Torinese). 12 The insight that our actors are more deserving of admiration than ever does not imply that they are any less dangerous ... But who could still doubt what I want,—what are the three demands for which my my love of art has compelled me?
Nietszche