Tchaikovsky Mozart Quotes

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

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

It was the most shamefully emotional music, so like Tchaikovsky just saying, Hell with the world, and letting the sweetest, saddest pain gush, in a way that my Mozart and my Beethoven never did.

I told him that I liked “light” classical, such as Mozart, Handel, and Tchaikovsky. I didn’t really know what I was talking about since my exposure to Mozart was Eine kleine Nachtmusik, Handel meant Messiah, and Tchaikovsky meant the 1812 Overture.

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

He owned twenty thousand books, though nobody ever actually saw him reading. He went often to the opera, ballet, theater, and cinema. He played the gramophone a lot. He liked Tchaikovsky’s Sixth Symphony, pieces by Borodin and Rimsky-Korsakov, and almost anything by Glinka. He disapproved of Mozart, saw Figaro only once and found it “dull,” though oddly enough he loved to play his Piano Concerto no. 23 on the gramophone.

Don't fall in love with me. I am not one entity. I am a multitude of phantasmagorical entities. I am the poet. I am the writer. I am the wanderer. I am the philosopher. I am the beggar. I am the king. I am the drifter. I am the hunter. I am the creator. I am the creation. I worship my gods - Bukowski, Kafka, Hemingway, Rand & Plath. I listen to my gods - Beethoven, Mozart, & Tchaikovsky! Don't fall in love with me! I am not one entity. I am a multitude of phastamagorical entities.

Don't fall in love with me. I am not one entity. I am a multitude of phantasmagorical entities. I am the poet. I am the writer. I am the wanderer. I am the philosopher. I am the king. I am the beggar. I am the drifter. I am the hunter. I am the creator. I am the creation. I worship my gods - Bukowski, Kafka, Hemingway, Rand & Plath. I listen to my gods - Beethoven, Mozart, & Tchaikovsky. Don't fall in love with me. I am not one entity. I am a multitude of phastamagorical entities.

Don't fall in love with me. I am not one entity. I am a multitude of phantasmagorical entities. I am the poet. I am the writer. I am the wanderer. I am the philosopher. I am the king. I am the beggar. I am the drifter. I am the hunter. I am the creator. I am the creation. I worship my gods - Bukowski, Kafka, Hemingway, Rand & Plath. I listen to my gods - Beethoven, Mozart, & Tchaikovsky! Don't fall in love with me! I am not one entity. I am a multitude of phastamagorical entities.