Violin Passion Quotes

Each of our passions, even love, has a stomach that must not be overloaded. We must in everything write the word 'finis' in time; we must restrain ourselves, when it becomes urgent; we must draw the bolt on the appetite, play a fantasia on the violin, then break the strings with our own hand. The Wise man is he who knows when and how to stop.

To say she is only a woman is to say a violin is a piece of wood with strings, and Dante is mere ink printed on paper.

Yes, the Springs needed you. Many a star was waiting for your eyes only. A wave swelled toward you out of the past, or as you walked by the open window a violin inside surrendered itself to pure passion. All that was your charge. But were you strong enough? Weren't you always distracted by expectation, as though each such moment presaged a beloved's coming? (But where would you keep her, with all those big strange thoughts in you going and coming and sometimes staying all night?)

Real science can be hard but, like classical literature or playing the violin, worth the struggle.

Each of our passions, even love, has a stomach that must not be overloaded. We must in all things write the word finis in time; we must restrain ourselves, when it becomes urgent, draw the bolt on the appetite, play a fantasia on the violin, then break the strings with our own hand.

Evening Concert, Sainte-Chapelle" The celebrated windows flamed with light directly pouring north across the Seine; we rustled into place. Then violins vaunting Vivaldi's strident strength, then Brahms, seemed to suck with their passionate sweetness, bit by bit, the vigor from the red, the blazing blue, so that the listening eye saw suddenly the thick black lines, in shapes of shield and cross and strut and brace, that held the holy glowing fantasy together. The music surged; the glow became a milk, a whisper to the eye, a glimmer ebbed until our beating hearts, our violins were cased in thin but solid sheets of lead.

As the leaves fell slowly from the trees, you played your violin for me, and I recited my poem for you...

Here in England there’s a glass wall between you and the taste of reality. I don’t want to see the last true passion tamed by railways, and men with Bibles telling everyone to cover their bodies.” He spread his powerful, elegant hands. “Play your string quintets, by all means, Mr. Narraway, but don’t silence the drums simply because you don’t understand them. The men who play violins have steel and gunpowder, and the men who play drums don’t.

Our chambers were always full of chemicals and of criminal relics which had a way of wandering into unlikely positions, and of turning up in the butter-dish or in even less desirable places. But his papers were my great crux. He had a horror of destroying documents, especially those which were connected with his past cases, and yet it was only once in every year or two that he would muster energy to docket and arrange them; for, as I have mentioned somewhere in these incoherent memoirs, the outbursts of passionate energy when he performed the remarkable feats with which his name is associated were followed by reactions of lethargy during which he would lie about with his violin and his books, hardly moving save from the sofa to the table. Thus month after month his papers accumulated, until every corner of the room was stacked with bundles of manuscript which were on no account to be burned, and which could not be put away save by their owner. One winter's night, as we sat together by the fire, I ventured to suggest to him that, as he had finished pasting extracts into his common-place book, he might employ the next two hours in making our room a little more habitable. He could not deny the justice of my request, so with a rather rueful face he went off to his bedroom, from which he returned presently pulling a large tin box behind him. This he placed in the middle of the floor and, squatting down upon a stool in front of it, he threw back the lid. I could see that it was already a third full of bundles of paper tied up with red tape into separate packages.

And remember this: each one of our passions, even love, has a stomach which must not be filled too full. In all things the word finis must be written in good season; self-control must be exercised when the matter becomes urgent; the bolt must be drawn on appetite; one must set one's own fantasy to the violin, and carry one's self to the post.

Talking to him was like playing upon an exquisite violin. He answered to every touch and thrill of the bow.... There was something terribly enthralling in the exercise of influence. No other activity was like it. To project one’s soul into some gracious form, and let it tarry there for a moment; to hear one’s own intellectual views echoed back to one with all the added music of passion and youth;

I admire the crap out of Carl now, because he was doing something he loved more than anything. And he was determined to do it, regardless of how successful he was. Carl played the violin because he had a PASSION for it, and screw the rest of the world. Even if he had to get a day job that wasn’t musical after college, and was only able to pick the instrument up at night before bed, to play ONLY for himself, it made him complete to have that in his life. And I think every minute he spent playing that violin was a moment he was spending his time right.

There must be a limit, even to dinners. You are fond of apple turnovers, ladies; do not indulge in them to excess. Even in the matter of turnovers, good sense and art are requisite. Gluttony chastises the glutton, Gula punit Gulax. Indigestion is charged by the good God with preaching morality to stomachs. And remember this: each one of our passions, even love, has a stomach which must not be filled too full. In all things the word finis must be written in good season; self-control must be exercised when the matter becomes urgent; the bolt must be drawn on appetite; one must set one's own fantasy to the violin, and carry one's self to the post. The sage is the man who knows how, at a given moment, to effect his own arrest.

You okay, Bobert?” He says pretty much what I expect: “I don’t know how I’m going to pair Ramón. He’ll drown Lisa.” Robert’s pianist, a man named Luther, is pretty wonderful. “Can Luther carry the solos?” “On piano?” I shrug. “Just spitballing here.” He appears to consider it, and then shakes his head. “The songs don’t lend themselves to keys. The strings have a richness, a vibrancy that the piano can’t mimic. It needs to stir something inside you. Luther is amazing, but we need a musician who demands your attention. Who makes you feel.” The idea seems to heat my blood, and I straighten. “Wait. Wait.” Robert looks up, confused. I hold up my hand. “An idea is forming in my brain.” His expression clears in understanding. “No, Buttercup.” “He’s exactly what you’re describing,” I insist. “You’ve never heard him, but trust me—he is.” “He plays guitar. Honey, I know you’re enamored, but—” “It’s not that, I swear. And he’s not just some busker hanging out on the street. He’s gifted, Robert. Listening to him play is like watching Luis onstage. I feel the notes. I know I’m not . . .” I search for words, flushing. Trying to tell Robert how to do his job is dangerous; he may be my uncle, but he’s been a brilliant musician for much longer. “I’m not a trained musician like you are,” I say carefully, “but I feel like classical guitar might work here. It’s gentle, and soft, yes, but has the passion and—the vibrancy you mention? It has that. If we’re changing the sound entirely by bringing in Ramón, why not change it this way, too? Have a guitar sing with Ramón, instead of a violin?” Robert stares at me, speechless. “Just come with me once.” I grow dizzy from the awareness that I might be convincing him. “Once. That’s all it will take. I know it.

SYNCHRONICITY 'The earth is alive, and it feels with you. It follows your footsteps, your search, with equal anxiety, because it will be transfigured in your triumph. The end of Kaliyuga and the entry into a new Golden Age depend on the results of your war. The earth by itself cannot finish the work that Nature leaves incomplete. Today the earth has joined forces with man in his destructive passion. The great catastrophe will occur in the first years of the Age of Aquarius. But if you can find the entrance to the Invisible Double of this earth, fulfilling the mystery of 'loveless A-Mor', the volcanoes will become calm, the earthquake will cease and the catastrophe will be avoided. 'There is an essential 'synchronicity' between the soul and the landscape. What you achieve in yourself will have repercussions in even the remotest corner of the universe, like the ringing of a bell which announces a triumph or a defeat, producing irreversible effects in a secret centre where Destiny acts. The Archetype is indivisible and, if you once confront it in an essential manner, the effects are universal and valid for all eternity. The old Chinese saying expresses it well: 'If a man, sitting in his room, thinks the right thoughts, he will be heard thousands of leagues away.' And the alchemical saying, too: 'It doesn't matter how alone you are. If you do true work, unknown friends will come to your aid.' 'What I have called "synchronicity', Nietzsche called 'lucky occurrences filled with meaning'. It becomes a poetic dialogue, a concerto for two violins, between the man-magician and Nature. The world presents you with a 'lucky occurrence filled with meaning', it hands you a subtle, almost secret message, something which happens without apparent reason, a-causal, but which you feel is full of meaning. This being exactly what the world is looking for, that you should extract that meaning from it, which you alone are capable of seeing, because it 'synchronises', it fully coincides with your immediate state of mind, with an event in your life, so that it is able to transform itself, with your assistance, into legend and destiny. A lucky occurrence which transformed itself into Destiny. And once you have achieved this, everything will appear to become the same as before, as if nothing had happened. Nevertheless, everything has changed fundamentally and for all time, although the only ones to know it will be you and the earth — which is now your earth, your world, since it has given itself up to you so that you can make it fruitful. 'The earth has made itself invisible inside you', as Rilke would say, it has become an individualised universe inside you. And although perhaps nothing may have changed, 'it might seem as if it were so, it might seem as if it were so', to use your own words. And you will be a creative God of the world; because you have conceived a Non-Existent Flower. You have given a meaning to your flower.

A faint singing seemed to issue from the walls... yes, it was as though the walls themselves were singing!... The song became plainer... the words were now distinguishable... he heard a voice, a very beautiful, very soft, very captivating voice... but, for all its softness, it remained a male voice... The voice came nearer and nearer... it came through the wall... it approached... and now the voice was in the room, in front of Christine. Christine rose and addressed the voice, as though speaking to some one: "Here I am, Erik," she said. "I am ready. But you are late." Raoul, peeping from behind the curtain, could not believe his eyes, which showed him nothing. Christine's face lit up. A smile of happiness appeared upon her bloodless lips, a smile like that of sick people when they receive the first hope of recovery. The voice without a body went on singing; and certainly Raoul had never in his life heard anything more absolutely and heroically sweet, more gloriously insidious, more delicate, more powerful, in short, irresistibly triumphant. He listened to it in a fever and he now began to understand how Christine Daaé was able to appear one evening, before the stupefied audience, with accents of a beauty hitherto unknown, of a superhuman exaltation, while doubtless still under the influence of the mysterious and invisible master. The voice was singing the Wedding-night Song from Romeo and Juliet. Raoul saw Christine stretch out her arms to the voice as she had done, in Perros church-yard, to the invisible violin playing The Resurrection of Lazarus and nothing could describe the passion with which the voice sang: "Fate links thee to me for ever and a day!" The strains went through Raoul's heart.

Beside her, the strings were tuned. The quartet started to play. When Tom began it, gently rolling sullen, swelling notes out of the cello, she assumed it would be designed to show him as the superb cellist he was. But when Ann’s viola came mourning in, she wondered if it might be intended as a dirge. Beyond Ann, Sam’s violin sang, and Ed’s sang and soared, and the music became something else again, nearly light-hearted. Showing how much the quartet needed Tom? Polly wondered. There was no question they were a good quartet these days. They had improved almost out of mind from the afternoon Polly had spent hearing them practice in the green basement. … The music broadened and depend, put on majesty and passion, and moved onward in some way, fuller and fuller. All four of the players were putting their entire selves into it. Polly knew they were not trying to prove anything—not really. She let the music take her, with relief, because while it lasted she would not have to make a decision or come to a dead end. She found her mind dwelling on Nowhere, as she and Tom used to imagine it. You slipped between Here ad Now to the hidden Now and Here—as Laurel had once told another Tom, there was that bonny path in the middle—but you did not necessarily leave the world. Here was a place where the quartet was grinding out dissonances. There was a lovely tune beginning to emerge from it. Two sides of Nowhere, Polly thought. One really was a dead end. The other was the voice that lay before you when you were making up something new out of ideas no one else had quite had before. That’s a discovery I must do something about, Polly thought, as the lovely tune sang out fully once and then fell away to the end, as the piece had begun, in a long, sullen cello note. And her mind was made up. (p. 399-400)

Light shone through a large crack in the wall of the maze ahead of us. A slim, slender silhouette cast a shadow against the passage floors. Der Erlkönig. I did not marvel then that I knew the shape of his body as well as my own reflection. I watched the Goblin King's shadow play his violin, his right arm moving in a smooth, practiced bowing motion. Käthe tried to pull me away, but I did not go with her. I moved closer to the light, and pressed my face to the crack. I had to look, I had to see. I had to watch him play. The Goblin King's back was turned to me. He wore no fancy coat, no embroidered dressing gown. He was simply dressed in trousers and a fine cambric shirt, so fine I could see the play of muscles in his back. He played with precision and with considerable skill. The Goblin King was not Josef; he did not have my brother's clarity of emotion or my brother's transcendence. But the Goblin King had his own voice, full of passion, longing, and reverence, and it was unexpectedly... vibrant. Alive. I could hear the slight fumblings, the stutters and starts in tempo, the accidental jarring note that marked his playing as human, oh so human. This was a man- a young man?- playing a song he liked on the violin. Playing it until it sounded perfect to his imperfect ears. I had stumbled upon something private, something intimate. My cheeks reddened. "Liesl." My sister's voice sliced through the sound of the Goblin King's playing like a guillotine, stopping the music mid-phrase. He glanced over his shoulder, and our eyes met. His mismatched gaze was unguarded, and I felt both ashamed and emboldened. I had seen him unclothed in his bedchamber, but he was even more naked now. Propriety told me I should look away, but I could not, arrested by the sight of his soul bared to me. We stared at each other through the crack in the wall, unable to move. The air between us changed, like a world before a storm: hushed, quiet, waiting, expectant.

It was decaffeinated jazz he sent to WJZ via Western Union lines from the Hotel Pennsylvania. A distant echo of New Orleans, yet it spoke to listeners.” The ’20s style was lively, rich with saxophone and violin and well-sprinkled with novelty tunes. Lopez was instantly identified by his theme, Nola, given a dexterous workout on the Lopez keyboard. Whiteman had Gershwin: his Rhapsody in Blue concert at Aeolian Hall on Feb. 12, 1924, established his reputation. And though Whiteman was slow to find his way into radio, he was a major force in band music of the ’20s. George Olsen was a master of popular music: his 1925 recording Who was a bestseller, followed by such period hits as The Varsity Drag, Because My Baby Don’t Mean Maybe Now, and Doin’ the Raccoon, a testament to the national passion for fur coats.

Against stereotype, she can’t play a note of piano or violin.

Second, he learned that doing what you loved may not be enough, that all the passion and perseverance that roared like blood within you could be trumped by factors that you could never control—factors like the color of your skin, or the shape of your eyes, or the sound of your voice.

But when I accept the call of creative passion, I am a bold stroke of vermilion, a renegade hyperbole, or the wild fury of jazz violin. The world is a canvas to explore, a blank page to fill, and an arpeggio of waiting experiences. This moving masterpiece called “life” becomes intoxicating when it’s lived as if it were art.

The aspiring writer comes home after a hard day’s work in the plastic shop. Maybe he has a few beers, or a cocktail, but soon he retires to his writing. There he discovers the aroma of burning lavender incense, and a soft red glow streaming from his reading lamp. The strings of a violin sing out softly, romantically. He notices his favorite notebook lying on his desk, submissively, with her blank naked pages spread open for him. He fondles his ballpoint pen and gawks at her 9.75 by 7.5-inch-wide ruled lines. He simply sits and stares at her awhile, lustfully, admiring the soft red lines that run down her legs to form margins. He smiles, feeling shy and perhaps a little apprehensive about this, what is for him, inevitable endeavor. He glances at his eager pen for a moment. It is a small pen. She reassures him that it is not the size of the pen that counts, but rather his prowess with it.        Not having any sort of plan in mind, all the more excited by the spontaneity of it, he sets to writing. He starts out softly, gently, and careful at first, forming each letter of each word with intimate precision. The inhibitions drop with each gentle stroke of his pen. Soon he is inside and one with the inviting quarter blank page. His pen is feverishly scratching against the warm paper. Madly he is marking the page. The blood in his head pounds, as he lets all his energy, all the everything inside him spill out onto the page. Faster and faster he writes with wild abandon, pushing it out onto her! “More” she moans. He grunts a primal grunt that rises up thick and full, from somewhere in the depths of his very soul, and he writes on! From under his pen she screams out in shades of purple passion ecstasy! “YES! OH GOOD GOD, YES! GIVE IT TO ME! YOU MAD MAD POET!” So he writes on, harder and faster, striving for climax. Until it seems at any moment, his pen might explode and spray thick creamy bubbling blue ink everywhere! He comes! To the end of the page. With the ink still wet and strangely sticky between her pages, he closes the notebook. Feeling drained, he lies his head against her soft cardboard cover and dozes off to dream the dreams that writers dream…           Rainbow

Even supermotivated people who’re working to exhaustion may not be doing deliberate practice. For instance, when a Japanese rowing team invited Olympic gold medalist Mads Rasmussen to come visit, he was shocked at how many hours of practice their athletes were logging. It’s not hours of brute-force exhaustion you’re after, he told them. It’s high-quality, thoughtful training goals pursued, just as Ericsson’s research has shown, for just a few hours a day, tops. Noa Kageyama, a performance psychologist on the faculty of the Juilliard School of Music, says he’s been playing the violin since he was two but didn’t really start practicing deliberately until he was twenty-two. Why not? There was no lack of motivation—at one point, young Noa was taking lessons with four different teachers and, literally, commuting to three different cities to work with them all. Really, the problem was just that Noa didn’t know better. Once he discovered there was an actual science of practice—an approach that would improve his skills more efficiently—both the quality of his practice and his satisfaction with his progress skyrocketed. He’s now devoted himself to sharing that knowledge with other musicians.

Chicago's Isabelle Innocenti is an accomplished violinist from Oberlin Conservatory, adept in modern and baroque violin. As a trained hypnotherapist and Suzuki Association member, she teaches at her North Shore studio. Isabelle has 500 hours of yoga training, loves baking, tennis, and yoga, and is passionate about environmental conservation.

visualizes exactly what he wants to achieve; he visualizes much more, because Itzhak Perlman doesn’t just play the violin brilliantly. He reaches into the very depths of people. He grasps ahold of their souls and lifts them up as high as he can. Itzhak Perlman makes people cry, and they don’t know why they are crying. He makes people feel and hear things they have never felt or heard before—things that cannot be put into words but must be witnessed and experienced to be understood and believed. He shares his excitement and passion for life through his music, filling his audience with an inexpressible joy. He energizes people. He inspires people. He moves people. He motivates people. He touches people. He changes people. In his own way, he makes a difference in people’s lives. And having raised up their souls, he sends them home, knowing that he has instilled in them an excitement and passion for life that is almost uncontainable. Moments of genius. The inexpressible expressed.

Ah, among the unhappiest blunders a man makes is this, that he childishly misjudges the value of the gifts that nature bestows on him most easily, and, contrariwise, considers most precious the endowments that come hardest. The precious stone buried in the earth's entrails, the pearl hidden in the ocean depths—these are what people regard as the greatest treasures; but they would look down on them if nature strewed them underfoot like pebbles and seashells. We are casual about our own excellences; we try to deceive ourselves about out weaknesses so long that we end up taking them for eminent virtues. Once, after a concert by Paganini, when I confronted the master with passionate praises for his violin playing, he interrupted me with these words: 'But today how did you like my bows, my genuflections?

To me playing a violin requires passion, and passion requires a good back.

One of the best ways to create and sustain social motivation is to surround yourself with people who will encourage and support and challenge you in your endeavors. Not only did the Berlin violin students spend most of their time with other music students, but they also tended to date music students or at least others who would appreciate their passion for music and understand their need to prioritize their practice.

A monster stands on the far shore of a glowing lake, waiting for the barge bearing his bride to return. He had stood in this very spot before, when he was a man and a king, when he played on his violin the image of a young woman through her music—her thoughts, her passions, her dreams. He had stood in this spot several times before that, greeting each bride as she made that last journey from life to death, but he never played his violin for them.

Talking to him was like playing upon an exquisite violin. He answered to every touch and thrill of the bow… There was something terribly enthralling in the exercise of influence. No other activity was like it. To project one’s soul into some gracious form, and let it tarry there for a moment; to hear one’s own intellectual views echoed back to one with all the added music of passion and youth; to convey one’s temperament into another as though it were a subtle fluid or a strange perfume: there was a real joy in that

You will sweat; it's uncomfortable. You won't feel it's enough, but it'll be something. Lean your body and let your head rest against the wall. Listen to the screech of the violin electrifying your skin. And let the ball start rolling.

The passions in domestic mechanism are an orchestra with 1620 instruments: our philosophers in wanting to direct them are comparable to a legion of children who would introduce themselves to the orchestra of the opera, seize the instruments and make a terrible hullabaloo; should we conclude from this that music is the enemy of man, and that we must repress the violins, stop the basses, stifle the flutes? No; we should chase away these little goslings, and give the instruments to expert musicians. Thus the passions are no more the enemies of man than musical instruments: man has no enemies except the philosophers who want to direct the passions, without having the least knowledge of the mechanism assigned to them by nature.