Leo Ornstein Quotes

The difference between the student and the born composer is he really hears the thing, and they have to stage it and manipulate it by technical equipment.

In writing music, the structure of each piece is a very important factor.

By the way, the point between rationality and what we would call the irrational is a very difficult point to establish. There's no specific line, as you know.

By the visual pattern, but mostly I'm guided entirely by my ear, what I hear.

There are some people, by the way, that associate a certain amount of visualization with the performance of music. Those are people that really are not centrally concerned only with music, the traditional things.

Besides merely some pleasure that we get out of the combinations of pitches together and lines, I think that there is some satisfaction that we get in the fact of having this diffuse thing organized very concretely and put onto a frame and have it actually decided.

I would say that Op 31 had brought music just to the very edge … I just simply drew back and said, "beyond that lies complete chaos".

A person improvising is sometimes very fortunate that just at that second things coincide.

I'm really interested in writing a piece of music that will move you, that will really move you. That is really the only reason that I'm writing music.

The danger of that - and there's a grave danger that I, myself, have to be very aware of - is that you become so involved and intrigued in the language that sometimes you lose track that that is only a means to an aesthetic experience that the listener has to get.

Now, there are sometimes making a connection between one section and another that sometimes you do want to see the pattern because it helps you to lead into the next thing - it's a rhetorical thing, where you just see how the pattern has to go into the next thing.

No, I think that a person writes a poem because they have an inner urge of something that they want to express, and I think it's that inner urge that you want to express when you write a piece of music.

Because essentially Schoenberg was an extremely gifted man. And in spite of many of his theories and so on, when he really began to write music, he still was guided very much by his internal hearing, by what we call your internal ear.

Hopefully, I have a certain amount of what you call musical talent.

It doesn't necessarily mean at all that the composer plays his own works best.

Well, no. I believe that it's not at all impossible that some of the performances that I've heard so far by some pianists may be superior to my own playing because those are two totally different acts altogether.

Now, what we are not talking about, what you're really coming to, is what compromises one makes so that the listener understands somewhat of what you're doing, what you're trying to express.

We can use techniques in modifying things, in controlling things, but the first impulse has to be something that you simply cannot make just out of technique, or else it becomes perfectly evident that it is nothing but technique that you're exercising.