Oboe Quotes

Oh it was gorgeousness and gorgeosity made flesh. The trombones crunched redgold under my bed, and behind my gulliver the trumpets three-wise silverflamed, and there by the door the timps rolling through my guts and out again crunched like candy thunder. Oh, it was wonder of wonders. And then, a bird of like rarest spun heavenmetal, or like silvery wine flowing in a spaceship, gravity all nonsense now, came the violin solo above all the other strings, and those strings were like a cage of silk round my bed. Then flute and oboe bored, like worms of like platinum, into the thick thick toffee gold and silver. I was in such bliss, my brothers.

Spent the fortnight gone in the music room reworking my year's fragments into a 'sextet for overlapping soloists': piano, clarinet, 'cello, flute, oboe, and violin, each in its own language of key, scale, and color. In the first set, each solo is interrupted by its successor; in the second, each interruption is recontinued, in order. Revolutionary or gimmicky? Shan't know until it's finished, and by then it'll be too late.

Everyone was pointing upward at the sky, which was turning into a symphony of color. First, orange streaks appeared in the blue, like an oboe joining a flute, turning a solo into a duet. That harmony built into a crescendo of colors as yellow and then pink added their voices to the chorus. The sky darkened, throwing the array of colors into even sharper relief. The word sunset couldn't possibly contain the meaning of the beauty above them, and for the millionth time since they'd landed, Wells found that the words they'd been taught to describe Earth paled in comparison to the real thing.

...he brought music of his own, and awakened every fairy echo with the tender accents of his oboe...

Certain voices hold this odd pull on our heartstrings. They are like sad oboes or something, something that makes you want to throw all your money at the radio while yelling, "I love you." I don't know what it is.

Do I have an original thought in my head? My bald head. Maybe if I were happier, my hair wouldn't be falling out. Life is short. I need to make the most of it. Today is the first day of the rest of my life. I'm a walking cliché. I really need to go to the doctor and have my leg checked. There's something wrong. A bump. The dentist called again. I'm way overdue. If I stop putting things off, I would be happier. All I do is sit on my fat ass. If my ass wasn't fat I would be happier. I wouldn't have to wear these shirts with the tails out all the time. Like that's fooling anyone. Fat ass. I should start jogging again. Five miles a day. Really do it this time. Maybe rock climbing. I need to turn my life around. What do I need to do? I need to fall in love. I need to have a girlfriend. I need to read more, improve myself. What if I learned Russian or something? Or took up an instrument? I could speak Chinese. I'd be the screenwriter who speaks Chinese and plays the oboe. That would be cool. I should get my hair cut short. Stop trying to fool myself and everyone else into thinking I have a full head of hair. How pathetic is that? Just be real. Confident. Isn't that what women are attracted to? Men don't have to be attractive. But that's not true. Especially these days. Almost as much pressure on men as there is on women these days. Why should I be made to feel I have to apologize for my existence? Maybe it's my brain chemistry. Maybe that's what's wrong with me. Bad chemistry. All my problems and anxiety can be reduced to a chemical imbalance or some kind of misfiring synapses. I need to get help for that. But I'll still be ugly though. Nothing's gonna change that.

Some writers are the kind of solo violinists who need complete silence to tune their instruments. Others want to hear every member of the orchestra—they’ll take a cue from a clarinet, from an oboe, even. I am one of those. My writing desk is covered in open novels. I read lines to swim in a certain sensibility, to strike a particular note, to encourage rigour when I’m too sentimental, to bring verbal ease when I’m syntactically uptight. I think of reading like a balanced diet; if your sentences are baggy, too baroque, cut back on fatty Foster Wallace, say, and pick up Kafka, as roughage. If your aesthetic has become so refined it is stopping you from placing a single black mark on white paper, stop worrying so much about what Nabokov would say; pick up Dostoyevsky, patron saint of substance over style.

Oh, it was wonder of wonders. And then, a bird of like rarest spun heavenmetal, or like silvery wine flowing in a spaceship, gravity all nonsense now, came the violin solo above all the other strings, and those strings were like a cage of silk round my bed. Then flute and oboe bored, like worms of like platinum, into the thick thick toffee gold and silver.

The horn . . . is the joint hardest instrument to learn. . . . (The other is the oboe).

...the overture began. God! Strings! Oboes! Timpani! Are you fucking kidding me? Why, when we know what human beings are capable of doing, do we not turn our collective heads in shame at the sight of rich housewives screaming at each other on television?

Dad brought it home from Paris when Terese was five. What other kid that age had a $10,000 oboe?

He had shining dark eyes and an oboe voice and mink-soft hair and could seem, even to Gary, more sentient animal than little boy.

Oh, era suntuoso, y la suntuosidad hecha carne. Los trombones crujían como láminas de oro bajo mi cama, y detrás de mi golová las trompetas lanzaban lenguas de plata, y al lado de la puerta los timbales me asaltaban las tripas y brotaban otra vez como un trueno de caramelo. Oh, era una maravilla de maravillas. Y entonces, como un ave de hilos entretejidos del más raro metal celeste, o un vino de plata que flotaba en una nave del espacio, perdida toda gravedad, llegó el solo de violín imponiéndose a las otras cuerdas, y alzó como una jaula de seda alrededor de mi cama. Aquí entraron la flauta y el oboe, como gusanos platinados, en el espeso tejido de plata y oro. Yo volaba poseído por mi propio éxtasis, oh hermanos.

... now and again we would happen to step out of the familiar universe into a sudden sharp shock of sweetly scented air, sudden as spilled perfume, piercing as crystal, dark and sweet as the sound of oboes.

It is far, far better never to have been beautiful. If you're gorgeous you're going to get by absolutely fine everyone will always want you in the room and you'll be lavished with attention, which you'll do very little to earn. Whereas, if you look like a sack of offal thats been dropkicked down a lift-shaft into a pond, you're going to spend many of your formative years alone. this may seem miserable - but you'll have space, space that you can constructively use to discover and hone your skills, learn a language, develop an interest in cosmology, practice the oboe, do whatever you fancy, really, so long as it doesn't involve being looked at or snogging anyone. And you'll very likely emerge from your chrysalis aged twenty-five as a highly accomplished young thing ready to take on the world. meanwhile, The Beautiful Ones will have been so busy having boyfriends and brushing their hair that they'll just be . . . who they always were.

Cinta tak menafikan dan menghapuskan batas dan jarak di antara kalian. Batas dan jarak itu tetap ada. Namun batas itu tidak membelenggu dan jarak itu tidak memisahkan kalian. Elaborasinya serupa orkestra yang tercipta dari gabungan berbagai alat musik. Ada instrumen gesek; biola, viola, cello dan kontra bass. Alat musik tiup; flute, oboe, clarinet, dan bassoon. Alat musik petik; gitar, harpa, ukulele, kecapi. Alat musik perkusi; drum, piano, marimba, timpani. Namun demikian, gabungan dari semua instrumen yang berbeda beda itu bisa membentuk sebuah orkes simfoni yang indah, karena mereka tidak bermain sendiri sendiri. Mereka menyelaraskan bunyi dan nada dalam sebuah kesatuan harmoni yang padu, merdu, indah dan menyentuh hati.

There was music from my neighbor's house through the summer nights. In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars. At high tide in the afternoon I watched his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motor-boats slit the waters of the Sound, drawing aquaplanes over cataracts of foam. On week-ends his Rolls-Royce became an omnibus, bearing parties to and from the city between nine in the morning and long past midnight, while his station wagon scampered like a brisk yellow bug to meet all trains. And on Mondays eight servants, including an extra gardener, toiled all day with mops and scrubbing-brushes and hammers and garden-shears, repairing the ravages of the night before. Every Friday five crates of oranges and lemons arrived from a fruiterer in New York--every Monday these same oranges and lemons left his back door in a pyramid of pulpless halves. There was a machine in the kitchen which could extract the juice of two hundred oranges in half an hour if a little button was pressed two hundred times by a butler's thumb. At least once a fortnight a corps of caterers came down with several hundred feet of canvas and enough colored lights to make a Christmas tree of Gatsby's enormous garden. On buffet tables, garnished with glistening hors-d'oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold. In the main hall a bar with a real brass rail was set up, and stocked with gins and liquors and with cordials so long forgotten that most of his female guests were too young to know one from another. By seven o'clock the orchestra has arrived, no thin five-piece affair, but a whole pitful of oboes and trombones and saxophones and viols and cornets and piccolos, and low and high drums. The last swimmers have come in from the beach now and are dressing up-stairs; the cars from New York are parked five deep in the drive, and already the halls and salons and verandas are gaudy with primary colors, and hair shorn in strange new ways, and shawls beyond the dreams of Castile. The bar is in full swing, and floating rounds of cocktails permeate the garden outside, until the air is alive with chatter and laughter, and casual innuendo and introductions forgotten on the spot, and enthusiastic meetings between women who never knew each other's names. The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word. The groups change more swiftly, swell with new arrivals, dissolve and form in the same breath; already there are wanderers, confident girls who weave here and there among the stouter and more stable, become for a sharp, joyous moment the centre of a group, and then, excited with triumph, glide on through the sea-change of faces and voices and color under the constantly changing light. Suddenly one of the gypsies, in trembling opal, seizes a cocktail out of the air, dumps it down for courage and, moving her hands like Frisco, dances out alone on the canvas platform. A momentary hush; the orchestra leader varies his rhythm obligingly for her, and there is a burst of chatter as the erroneous news goes around that she is Gilda Gray's understudy from the FOLLIES. The party has begun.

Listening to the clack clack of the pal fronds form a percussive background to the oboe throb of the sea, he dozed off. An hour later, he woke with a start and, standing up, dusted off the seat of his trousers. White sand, in fine glittering silicon chips, clung to him, catching the sun, turning him into a patchwork fabric of diamonds and ebony.

I paused for a moment, debating whether to turn and look what was happening. My senses told me Obo’s presence was still at my side, and turning my face into the barrel of a gun seemed like an ill-advised way to cap off this day of monumentally stupid decisions.

Also a fart. Not a trumpet blast, more of an oboe.

I heard his sigh of relief when he sat down in his favorite chair. Also a fart. Not a trumpet blast, more of an oboe.

Spent the fortnight gone in the music room, reworking my year’s fragments into a “sextet for overlapping soloists”: piano, clarinet, ’cello, flute, oboe, and violin, each in its own language of key, scale, and color.

With a bad reed, my oboe could be a beastly instrument honking and squeaking as if it had a mind of its own. When my reeds were working, though, I learned that making a sound spoke my emotions more directly than my own voice.

Last night I snuck an orchestra into the elevator at my apartment. We made elevator music history until Marvin got his oboe caught in the door and Mrs. Hoffstead started singing "Yes We Have No Bananas Today" in the hall so loud the police were called in from Equador.

When a writer first begins to write, he or she feels the same first thrill of achievement that the young gambler or oboe player feels: winning a little, losing some, the gambler sees the glorious possibilities, exactly as the young oboist feels an indescribable thrill when he gets a few phrases to sound like real music, phrases implying an infinite possibility for satisfaction and self-expression. As long as the gambler or oboist is only playing at being a gambler or oboist, everything seems possible. But when the day comes that he sets his mind on becoming a professional, suddenly he realizes how much there is to learn, how little he knows.

Battle in the Snow has an unusual orchestration calling for five piccolos, five oboes, a battery of eight percussion, two grand pianos, and two or three harps, in addition to the normal orchestral complement,” Williams notes. “This was necessary in order to achieve a bizarre sound, a mechanical, brutal sound for the sequence showing Imperial walkers.

Headphones opened up a world of sonic colors, a palette of nuances and details that went far beyond the chords and melody, the lyrics, or a particular singer’s voice. The swampy Deep South ambience of “Green River” by Creedence, or the pastoral, open-space beauty of the Beatles’ “Mother Nature’s Son”; the oboes in Beethoven’s Sixth (conducted by Karajan), faint and drenched in the atmosphere of a large wood-and-stone church; the sound was an enveloping experience.

Insomnia & So On" Fat bed, lick the black cat in my mouth each morning. Unfasten all the bones that make a head, and let me rest: unknown among the oboe-throated geese gone south to drop their down and sleep beside the out- bound tides. Now there’s no nighttime I can own that isn’t anxious as a phone about to ring. Give me some doubt on loan; give me a way to get away from what I know. I pace until the sun is in my window. I lie down. I’m a coal: I smolder to a bloodshot glow. Each day I die down in my bed of snow, undone by my red mind and what it woke.

Nature is a temple in which living pillars Sometimes give voice to confused words; Man passes there through forests of symbols Which look at him with understanding eyes. Like prolonged echoes mingling in the distance In a deep and tenebrous unity, Vast as the dark of night and as the light of day, Perfumes, sounds, and colors correspond. There are perfumes as cool as the flesh of children, Sweet as oboes, green as meadows — And others are corrupt, and rich, triumphant, With power to expand into infinity, Like amber and incense, musk, benzoin, That sing the ecstasy of the soul and senses.

When did you realize you should stop playing? There was no one moment. Moments of realization are generally seductive lies concocted by unscrupulous memoirists. Typically, the process of epiphany is not instant—your mind doesn’t just crack open. You usually realize something long after you’ve suspected that it might be true, after it’s been lurking there for a long time, in the form of an uncomfortable thought that might have been droning in the background for weeks or years, like the purr of a detuned oboe. What we call “realization” is often the death of a self-serving rationale after it’s been strangled by reality for a long time.

[“Attention”, a voice began to call, and it was as though an oboe had suddenly become articulate. “Attention”, it repeated in the same high, nasal monotone. “Attention” (…) “Is that your bird?” Will asked. She shook her head. Mynahs are like the electric light”, she said. “They don’t belong to anybody.” Why does he say those things? “Because somebody taught him”, she answered patiently… But why did they teach him those things? Why ‘Attention’? Why ‘Here and now?’ “Well …” She searched for the right words in which to explain the self-evident to this strange imbecile. “That’s what you always forget, isn’t it? I mean, you forget to pay attention to what’s happening. And that’s the same as not being here and now.

One thing had always confused Quentin about the magic he read about in books: it never seemed especially hard to do. There were lots of furrowed brows and thick books and long white beards and whatnot, but when it came right down to it, you memorized the incantation—or you just read it off the page, if that was too much trouble—you collected the herbs, waved the wand, rubbed the lamp, mixed the potion, said the words—and just like that the forces of the beyond did your bidding. It was like making salad dressing or driving stick or assembling Ikea furniture—just another skill you could learn. It took some time and effort, but compared to doing calculus, say, or playing the oboe—well, there really was no comparison. Any idiot could do magic.

AT FIRST, THERE’S only a thread of frost spreading across a pane. Oboe and horn trace out their parallel privacies. The thin sinews wander, an edgy duet built up from bare fourths and fifths. The singer enters, hesitant, hinted by bassoon. She channels a man wrung out after a sleepless night, a father with nothing left to keep safe. Now the sun will rise so brightly . . . The sun rises, but the line sinks. The orchestration, the nostalgic harmonies: everything wrapped in the familiar late nineteenth century, but laced with the coming fever dream. Bassoon and horn rock an empty cradle. Scant, muted violas and cellos in their upper registers enter over a quavering harp. The line wavers between major and minor, bright and dim, peace and grief, like the old hag and lovely young thing who fight for control of the fickle ink sketch. The voice

Friedrich Rückert wrote 425 poems After his two youngest children Died from scarlet fever Within sixteen days of each other In 1833 and 1834 he could not cope And often thought they had gone out For a while "they'll be home soon" He told himself to tell his wife "They're only taking a long walk" Mahler scored five of those poems In 1901 and 1904 for a vocalist And an orchestra to break your heart As soon as I heard the plaintive oboe And the descending movement of the horn And the lyric baritone entering I felt I should not be listening To Dietrich Fischer-Dieskau singing Kindertotenlieder with the Berlin Philharmonic Mahler's wife was superstitious And thought he was chancing disaster With Songs on the Death of Children "Now the sun wants to rise so brightly As if nothing terrible had happened overnight That tragedy happened to me alone" Mahler knew he could never have written them After his four-year-old daughter died From scarlet fever three years later He said he felt sorry for himself That he needed to write these songs And for the world that would listen to them

Voir Sur Ton Chemin" Vois sur ton chemin Gamins oubliés egarés Donnez- leur la main pour les mener Vers d'autres lendemains Donnez- leur la main Pour les mener Vers d'autres lendemains Sens au coeur de la nuit - Sens au coeur de la nuit L'onde de l'espoir Ardeur de la vie L'onde d'espoir Sentier de la gloire Ardeur de la vie, de la vie Sentier de gloire, sentier de gloire Bonheurs enfantins, Trop vite oubliés effacés, Une lumière doree brille sans fin tout au bout du chemin Vite oubliés effacés, Une lumiere doree brille sans fin Sens au coeur de la nuit - Sens au coeur de la nuit L'onde de l'espoir Ardeur de la vie L'onde d'espoir Sentier de la gloire Ardeur de la vie, de la vie Sentier de gloire, sentier de gloire e le e, i le e, e le i, i le e, e le e, i le e, i le e i_ e_ e le e, i le e, e le i, i le e, e le e, i le e, i le e i_ e_ le__ ~ oboe solo ~ Vois sur ton chemin Gamins oubliés egarés Donnez- leur la main pour les mener Vers d'autres lendemains Donnez- leur la main Pour les mener Vers d'autres lendemains Sens au coeur de la nuit - Sens au coeur de la nuit L'onde de l'espoir Ardeur de la vie L'onde d'espoir Sentier de gloire * time* Sens au coeur de la nuit - Sens au coeur de la nuit L'onde de l'espoir Ardeur de la vie L'onde d'espoir__ Sentier de gloire__ English Look upon your path Children lost and forgotten Lend them a hand To lead them Towards other tomorrows Feel in the middle of the night The surge of hope Ardor of life Pathway of glory Joys of childhood Too quickly forgotten, erased Golden light shines without end to the end of the path

Ali na povratku kući desilo se nešto čudesno, sigurno se sećaš erupcije vulkana na Islandu? Sećam se, kaže Fvonk, strašne su sile bile ne delu. Bogami jesu, kaže Jens, zastrašujuće sile, ali obo što je bilo tako blagosloveno oko te erupcije bilo je što se pepeo rasprišio po atmosferi tako da avioni nisu mogli leteti, i to je bilo kao poručeno, osetio sam, da, znaš li šta sam osetio, Fvonk, osetio sam da su mi molitve uslišene, da ima nečega tamo gore, neke sile, ne znam, ovoga ili onoga, što me je videlo i razumelo, tako je lepo biti viđen, i tako je fantastično kada se stvori prostor u kome se niko inače ne bi našao. Trebalo bi da čovek bude na nekom drugom mestu, ali biva sprečen i onda se stvara poseban prostor, koji u suštini ne postoji, razumeš li, i u tom prostoru čovek je potpuno slobodan, potpuno i savršeno slobodan. Razumem, kaže Fvonk.

Possessing a weapon has made me bashful. Tears appreciate in this economy of pleasure. The ether of data engulfs the capitol. Possessing a weapon has made me forgetful. My oboe tars her cenotaph. The surface is in process. Coruscant skinks emerge in force. The moon spits on a copse of spruce. Plausible opposites stir in the brush. Jupiter spins in its ruts. The wind extends its every courtesy. I have never been here. Understand? You have never seen me.

This dark young man, on the other hand, was just what he should be — Charlie Ledwyche’s physical and temperamental opposite. There was something, she decided, elemental about him. When the lights went down again they danced “Apres-midi d’un Faune.” Shyly glancing at him, while the oboe reedily skipped and quavered above a shimmer of strings, she knew that — apart from the whiskers — there was something southern about his pale face. He was like a sleek-skinned faun himself. The light in those lazy, black-fringed eyes was undeniably pagan.

The characteristic sounds of a trumpet, oboe, banjo, piano, or violin are due to the distinct cocktail of harmonic frequencies that each instrument produces. I love the image of an invisible cosmic bartender, expert in creating hundreds of different harmonic cocktails, who can serve up a banjo to this customer, a kettledrum to the next, and an erhu or a trombone to the one after that

But why should a flute make a sound which is smoother and less complex than that of a violin or oboe? To answer this question we have to think about musical instruments as machines which produce notes. All these machines are designed to produce repeating ripple patterns of pressure in the air and they all do this in different ways. For example, playing a flute involves a straightforward method of setting up vibrations in a column of air. There are no moving parts inside a flute, just this simple vibrating body of air. Playing a violin, on the other hand, involves a rather complicated

Whose trip do you think this is, anyhow?

Whose trip is this, anyway

official instrument of the Half Kingdom. The bombard was a double-reeded relative of the oboe, but lacked the warmth and smoothness of its cousin. Listening to a group of them made you yearn for the joyful pleasure of being slammed in the head by a dozen bagpipes.

Of all the places he could have sent me to serve my sentence, he chose the prison planet Molvi—the most brutal and depraved penitentiary of Obos.

You’ve got two violin sections, violas, cellos, basses, woodwinds, brass, percussion—but it operates as a whole. It has rhythms.” You need space in your life for the spotlight of focus—but alone, it would be like a solo oboe player on a bare stage, trying to play Beethoven. You need mind-wandering to activate the other instruments and to make the sweetest music. I thought I had come to Provincetown to learn to focus. I realized that, in fact, I was learning to think—and that required much more than the spotlight of focus.

How good do you want to be?

canciones del interior: Where or When, música de Richard Rodgers y letra de Lorenz Hart, © 1937 Chappel & Co., WB Music Corp. y Williamson Music Co., derechos gestionados por WB Music Corp. o/b/o Estate of Lorenz Hart y Family Trust u/w Richard Rodgers y Family Trust u/w Dorothy F. Rodgers I Didn’t Know What Time It Was, música de Richard Rodgers y letra de Lorenz Hart, © 1939 Chappel & Co., WB Music Corp. y Williamson Music Co., derechos gestionados por WB Music Corp. o/b/o Estate of Lorenz Hart y Family Trust u/w Richard Rodgers y Family Trust u/w Dorothy F. Rodgers My Funny Valentine, música de Richard Rodgers y letra de Lorenz Hart, © 1937 Chappel & Co., Derechos gestionados por WB Music Corp. y Williamson Music Co., derechos gestionados por WB Music Corp. o/b/o Estate of Lorenz Hart y Family Trust u/w Richard Rodgers y Family Trust u/w Dorothy F. Rodgers. Publicado de acuerdo con Alfred Publishing, LLC y Williamson Music

So, to return to a question from a few pages back: Is it possible to make practicing piano – or violin, oboe, saxophone or accordion – more like practicing basketball? Is it possible to enjoy practicing?

During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country, and at length found myself, as the shades of evening drew on, within view of the melancholy House of Usher. This one sentence could well serve as a crash course in how to create atmosphere. First the bare wires of where and when are suggested (a country road; an autumn day in a time period when men still road on horseback to reach their destinations). Then lights and sound are added: the scene is dark and shadowy; a palpable silence reigns. It’s not a peaceful quiet, the kind that might soothe a tired traveler. Rather, it’s a disturbing silence described only in terms of what it lacks : “soundless.” Other details add to the foreboding: clouds hanging low; a lone rider. And beneath it all a subliminal music plays. I imagine an oboe or a cello, its tones mournfully forlorn. Soon it’s joined by a chorus of deep vowels whose tones are split by harsh consonants and stopped rhythms striking like gongs foretelling doom: dull, dark, soundless, day. Each phrase of the description, like each step of the rider’s horse, draws us deeper toward the gloom that awaits us. Nothing

Each animal fit into its own track, where it wouldn't overlap with and be muddied by the sounds of another. In a very real way, the animals were an orchestra: Each instrument made itself heard by producing a different set of frequencies. The elephants were the bass cellos, the hyenas the oboes, the hyraxes the clarinets, the insects the violins, and the bats the piccolos over the top.

made Dr Voronoff’s best experiment look like a piffled porcupine trying to play the Fifth Symphony on a cracked oboe in a pail of molasses.