Short Orchestra Quotes

His spirit was warped by bitter vindictiveness and puerile self-commiseration, and he spent his days in scorn of the labour that brought him bread and in pitiful devotion to the labour that brought him only disappointment, writing interminable scores which demanded of the orchestra everything under heaven except melody.

Nothing any man can do will improve that genius; but the genius needs his mind, and he can broaden that mind, fertilize it with knowledge of all kinds, improve its powers of expression; supply the genius, in short, with an orchestra instead of a tin whistle. All our little great men, our one-poem poets, our one-picture painters, have merely failed to perfect themselves as instruments. The Genius who wrote The Ancient Mariner is no less sublime than he who wrote The Tempest; but Coleridge had some incapacity to catch and express the thoughts of his genius - was ever such wooden stuff as his conscious work? - while Shakespeare had the knack of acquiring the knowledge necessary to the expression of every conceivable harmony, and his technique was sufficiently fluent to transcribe with ease.

After a while the velvet silence was broken by Granny’s deep and resonant snore. Shortly afterwards it was joined by the genteel snoring of Nanny, who had spent far more time sleeping in company than Granny and had evolved a more accommodating nasal orchestra. Granny’s snore would have cut logs.

For a short while she considered the idea of orchestral courtesy. Certainly one should avoid giving political offence: German orchestras, of course, used to be careful about playing Wagner abroad, at least in some countries, choosing instead German composers who were somewhat more ... apologetic.

Once a transition of value creates an emotion, feeling comes into play. Although they're often mistaken for each other, feeling is not emotion. Emotion is a short-term experience that peaks and burns rapidly. Feeling is a long-term, pervasive, sentient background that colors whole days, weeks, even years of our lives. Indeed, a specific feeling often dominates a personality. Each of the core emotions in life - pleasure and pain - has many variations. So which particular negative or positive emotion will we experience? The answer is found in the feeling that surrounds it. For, like adding pigment to a pencil sketch or an orchestra to a melody, feeling makes emotion specific.

Never before have I had such dreams at dawn. They're double dreams. What's more, the principal one, I'd say, is made of glass. It's transparent. And so, then -- I dream of an eerily lit lamp, and out of it blazes a multicolored ribbon of lights. Amneris is waving a green feather and singing. The orchestra, utterly unearthly, is extraordinarily sonorous. I can't convey it in words, though. In short, in a normal dream music is soundless ... (in a normal one? That's another question, which dream is more normal?! I'm joking, though...") soundless, but in my dream it's quite sublimely audible. And the main thing is that, using my will, I can amplify or soften the music. I seem to recall in War and Peace there's a description of Petya Rosrov, when half asleep, experienced the same state. Leo Tolstoy's a remarkable writer!

And then the world stopped and there was nothing but Rose as she slipped from the crowd to stand before him. Grey forgot about Lady Devane. He forgot about everyone but her. She wore a mask, but even if he hadn’t recognized the hair and the dress he would have known it was her. He knew her scent, the shape of her mouth. He recognized her by the way his heart rejoiced at her nearness. She stared at him, her mask doing nothing to conceal her wonder. “Why are you here?” Grey smiled down at her. Did she notice that he’d pinned the rosette from the gown she’d worn their first night together to his lapel? “Because I hold you above my horse, my fortune, and my pride.” Her brow puckered. “I beg your pardon?” “Those were the traits you said you required in a husband, were they not?” Her face relaxed, and he thought he saw a glimmer of understanding in her dark eyes. “Yes. I believe they were. You came here just to tell me that?” He laughed. Her face was so bright below the edge of her mask, her eyes damp and warm. It broke is heart-and buoyed it as well-to know he was responsible for all of that. “No. I came here to dance with my wife. And to do this.” He took her face in his hands and kissed her in front of the entire ballroom. He didn’t care about the gasps or that everyone could see. He didn’t care what they said or whether or not his behavior was proper. He was a duke, damn it. A scandalous one at that. When he lifted his head, Rose’s eyes fluttered open. Her breath came in short, gentle heaves. “I’m very glad you decided that could not wait until I get home.” Grey offered his arm. “Shall we?” “There’s no music.” But she took his arm anyway. The orchestra had stopped playing shortly after he walked in. Grey turned his gaze in their direction, nodded at the leader and once again the room was filled with music.

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

She has a genius,” distinguished Simon Iff. “Her dancing is a species of angelic possession, if I may coin a phrase. She comes off the stage from an interpretation of the subtlest and most spiritual music of Chopin or Tschaikowsky; and forthwith proceeds to scold, to wheedle, or to blackmail. Can you explain that reasonably by talking of ‘two sides to her character’? It is nonsense to do so. The only analogy is that of noble thinker and his stupid, dishonest, and immoral secretary. The dictation is taken down correctly, and given to the world. The last person to be enlightened by it is the secretary himself! So, I take it, is the case with all genius; only in many cases the man is in more or less conscious harmony with his genius, and strives eternally to make himself a worthier instrument for his master’s touch. The clever man, so-called, the man of talent, shuts out his genius by setting up his conscious will as a positive entity. The true man of genius deliberately subordinates himself, reduces himself to a negative, and allows his genius to play through him as It will. We all know how stupid we are when we try to do things. Seek to make any other muscle work as consistently as your heart does without your silly interference—you cannot keep it up for forty-eight hours. All this, which is truth ascertained and certain, lies at the base of the Taoistic doctrine of non-action; the plan of doing everything by seeming to do nothing. Yield yourself utterly to the Will of Heaven, and you become the omnipotent instrument of that Will. Most systems of mysticism have a similar doctrine; but that it is true in action is only properly expressed by the Chinese. Nothing that any man can do will improve that genius; but the genius needs his mind, and he can broaden that mind, fertilize it with knowledge of all kinds, improve its powers of expression; supply the genius, in short, with an orchestra instead of a tin whistle. All our little great men, our one-poem poets, our one-picture painters, have merely failed to perfect themselves as instruments.

Your laptop is a note in a symphony currently being played by an orchestra of incalculable size. It’s a very small part of a much greater whole. Most of its capacity resides beyond its hard shell. It maintains its function only because a vast array of other technologies are currently and harmoniously at play. It is fed, for example, by a power grid whose function is invisibly dependent on the stability of a myriad of complex physical, biological, economic and interpersonal systems. The factories that make its parts are still in operation. The operating system that enables its function is based on those parts, and not on others yet to be created. Its video hardware runs the technology expected by the creative people who post their content on the web. Your laptop is in communication with a certain, specified ecosystem of other devices and web servers. And, finally, all this is made possible by an even less visible element: the social contract of trust—the interconnected and fundamentally honest political and economic systems that make the reliable electrical grid a reality. This interdependency of part on whole, invisible in systems that work, becomes starkly evident in systems that don’t. The higher-order, surrounding systems that enable personal computing hardly exist at all in corrupt, third-world countries, so that the power lines, electrical switches, outlets, and all the other entities so hopefully and concretely indicative of such a grid are absent or compromised, and in fact make little contribution to the practical delivery of electricity to people’s homes and factories. This makes perceiving the electronic and other devices that electricity theoretically enables as separate, functional units frustrating, at minimum, and impossible, at worst. This is partly because of technical insufficiency: the systems simply don’t work. But it is also in no small part because of the lack of trust characteristic of systemically corrupt societies. To put it another way: What you perceive as your computer is like a single leaf, on a tree, in a forest—or, even more accurately, like your fingers rubbing briefly across that leaf. A single leaf can be plucked from a branch. It can be perceived, briefly, as a single, self-contained entity—but that perception misleads more than clarifies. In a few weeks, the leaf will crumble and dissolve. It would not have been there at all, without the tree. It cannot continue to exist, in the absence of the tree. This is the position of our laptops in relation to the world. So much of what they are resides outside their boundaries that the screened devices we hold on our laps can only maintain their computer-like façade for a few short years. Almost everything we see and hold is like that, although often not so evidently

Something wrong with short men, is there?” Roger inquired. “They tend to turn mean if they don’t get their way,” Claire answered. “Like small yapping dogs. Cute and fluffy, but cross them and you’re likely to get a nasty nip in the ankle.” Roger laughed. “This observation is the result of years of experience, I take it?” “Oh, yes.” She nodded, glancing up at him. “I’ve never met an orchestra conductor over five feet tall. Vicious specimens, practically all of them. But tall men”—her lips curved slightly as she surveyed his six-feet-three-inch frame—“tall men are almost always very sweet and gentle.” “Sweet, eh?” said Roger, with a cynical glance at the barman, who was cutting up a jellied eel for Brianna. Her face expressed a wary distaste, but she leaned forward, wrinkling her nose as she took the bite offered on a fork. “With women,” Claire amplified. “I’ve always thought it’s because they realize that they don’t have anything to prove; when it’s perfectly obvious that they can do anything they like whether you want them to or not, they don’t need to try to prove it.” “While a short man—” Roger prompted. “While a short one knows he can’t do anything unless you let him, and the knowledge drives him mad, so he’s always trying something on, just to prove he can.

Mahler was superstitious about composers dying after their ninth symphony, as Beethoven did. To avoid the curse, he composed The Song of the Earth, a song cycle for tenor, soprano, and orchestra, immediately after his eighth symphony, and a year later he wrote his actual ninth symphony. It didn't work. Mahler died ofa throat infection shortly thereafter.

Estonian students, sitting in a café, impervious to the sparkling weather out of doors, impervious to the far roar of the world. It would not be so bad, if the café had an atmosphere of its own, if it could encourage the growth of an Estonian Boheme, throughout these winter months. But it has nothing of the sort. It is only a shabby reproduction of that indescribably vacuous institution: the typical northern-European café, where heavy red draperies shut out the healthy light of day; where coffee and cake is served on little tables with sticky imitation-marble tops and paper-napkins, where bored traveling salesmen read the daily papers and look at the women; where women sit patiently, by themselves, hoping to appear mysterious and romantic through their anonymity, hoping someday to encounter the shadowy Prince Charming, as he is encountered in fiction magazines; where a second-rate orchestra scrapes out tunes to which nobody listens—in short, where there is not even the lure of intoxication and vice and despair, but only sickening pretension, dullness, boredom, and stale air.

Soon after that, Eno briefly joined a group called the Scratch Orchestra, led by the late British avant-garde composer Cornelius Cardew. There was one Cardew piece that would be a formative experience for Eno—a piece known as “Paragraph 7,” part of a larger Cardew masterwork called The Great Learning. Explaining “Paragraph 7” could easily take up a book of its own. “Paragraph 7”’s score is designed to be performed by a group of singers, and it can be done by anyone, trained or untrained. The words are from a text by Confucius, broken up into 24 short chunks, each of which has a number. There are only a few simple rules. The number tells the singer how many times to repeat that chunk of text; an additional number tells each singer how many times to repeat it loudly or softly. Each singer chooses a note with which to sing each chunk—any note—with the caveats to not hit the same note twice in a row, and to try to match notes with a note sung by someone else in the group. Each note is held “for the length of a breath,” and each singer goes through the text at his own pace. Despite the seeming vagueness of the score’s few instructions, the piece sounds very similar—and very beautiful—each time it is performed. It starts out in discord, but rapidly and predictably resolves into a tranquil pool of sound. “Paragraph 7,” and 1960s tape loop pieces like Steve Reich’s “It’s Gonna Rain,” sparked Eno’s fascination with music that wasn’t obsessively organized from the start, but instead grew and mutated in intriguing ways from a limited set of initial constraints. “Paragraph 7” also reinforced Eno’s interest in music compositions that seemed to have the capacity to regulate themselves; the idea of a self-regulating system was at the very heart of cybernetics. Another appealing facet of “Paragraph 7” for Eno was that it was both process and product—an elegant and endlessly beguiling process that yielded a lush, calming result. Some of Cage’s pieces, and other process-driven pieces by other avant-gardists, embraced process to the point of extreme fetishism, and the resulting product could be jarring or painful to listen to. “Paragraph 7,” meanwhile, was easier on the ears—a shimmering cloud of sonics. In an essay titled “Generating and Organizing Variety in the Arts,” published in Studio International in 1976, a 28-year-old Eno connected his interest in “Paragraph 7” to his interest in cybernetics. He attempted to analyze how the design of the score’s few instructions naturally reduced the “variety” of possible inputs, leading to a remarkably consistent output. In the essay, Eno also wrote about algorithms—a cutting-edge concept for an electronic-music composer to be writing about, in an era when typewriters, not computers, were still en vogue. (In 1976, on the other side of the Atlantic, Steve Jobs and Steve Wozniak were busy building a primitive personal computer in a garage that they called the Apple I.) Eno also talked about the related concept of a “heuristic,” using managerial-cybernetics champion Stafford Beer’s definition. “To use Beer’s example: If you wish to tell someone how to reach the top of a mountain that is shrouded in mist, the heuristic ‘keep going up’ will get him there,” Eno wrote. Eno connected Beer’s concept of a “heuristic” to music. Brecht’s Fluxus scores, for instance, could be described as heuristics.

The concert was over; the people filed out of the hall chattering and laughing, glad to relax and find the living level again, but my kinswoman made no effort to rise. The harpist slipped the green felt cover over his instrument; the flute-players shook the water from their mouth-pieces; the men of the orchestra went out one by one, leaving the stage to the chairs and music stands, empty as a winter cornfield. I spoke to my aunt. She burst into tears and sobbed pleadingly. “I don’t want to go, Clark, I don’t want to go!” I understood. For her, just outside the concert hall, lay the black pond with the cattle-tracked bluffs; the tall, unpainted house, with weather-curled boards, naked as a tower; the crook-backed ash seedlings where the dish-cloths hung to dry; the gaunt, moulting turkeys picking up refuse about the kitchen door.

Prayer is like jazz. Jazz music is improvisational. Jazz bands don’t stare at sheet music; they get lost in the music and let it carry them. A saxophonist in an orchestra sits with perfect posture in a refined, formal opera house. A saxophonist in a jazz trio plays with their back arched, their eyes closed, and an expression of deep satisfaction spread across their face inside a smoky, loud club. He is “feeling” the music, not reading it. The interesting thing about jazz, though, is that it requires a firm understanding of the instrument. A wealth of knowledge and hours of practice makes improvisation not only possible but enjoyable. In short, if you want to play jazz, you’ve got to learn the sheet music first. And if you want to pray with passion, spontaneity, and freedom, you’ve got to learn the sheet music.

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.

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.