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When Ravel was asked what he meant by the terms 'evolution' and 'revolution' in the context of composition:

"Suppose you are in a room, studying...; after a few hours you feel that the atmosphere is a little stuffy and you need to change the air, and you open the window. You let the fresh air enter the room, after a while you close the window, that's all. That's evolution. You are in the room and you feel that you need a change of air, and you take a stone, put that through the window and break the window. Of course the fresh air enters, but after that you have to repair the window. That's revolution!... I don't see myself needing to break a window; I know how to open it!"

-Ravel
 
"Debussy's great service to music was to reawaken among all musicians an awareness of harmony and its possibilities. In that, he was just as important as Beethoven, who revealed to us the possibilities of progressive form, or as Bach, who showed us the transcendent significance of counterpoint. Now, what I am always asking myself is this: is it possible to make a synthesis of these three great masters, a living synthesis that will be valid for our time?"

-Bartok
 
"Do you think me so devoid of taste that I would stand there in front of the orchestra, violin in hand, but like a listener, while the oboe plays the only melody in the entire work?"

-- Pablo de Sarasate, explaining his refusal to play the Brahms Violin Concerto
LOL - showing exactly what he did, and did not understand. "Where is the melody" is a common, and simplistic statement, but does show that most people, even the lovers of 'classical music' listen if not completely, mainly then, to only 'the top.'
 
Music should be able to invoke the natural emotions in all human beings. Music is not notes fixed on apiece of paper.

- Toru Takemitsu

Music is a means capable of expressing dark dramatism and pure rapture, suffering and ecstasy, fiery and cold fury, melancholy and wild merriment – and the subtlest nuances and interplay of these feelings which words are powerless to express and which are unattainable in painting and sculpture.
- Dmitri Shostakovich
 
That most famous Stravinsky quote....

"For I consider that music is, by its very nature, essentially powerless to express anything at all, whether a feeling, an attitude of mind, a psychological mood, a phenomenon of nature, etc. Expression has never been an inherent property of music. That is by no means the purpose of its existence. If, as is nearly always the case, music appears to express something, this is only an illusion and not a reality. It is simply an additional attribute which, by tacit and inveterate agreement, we have lent it, thrust upon it, as a label, a convention - in short, an aspect which, unconsciously or by force of habit, we have come to confuse with its essential being."

Years later, he clarified that to...

"The over-publicized bit about expression (or non-expression) was simply a way of saying that music is supra-personal and super-real and as such beyond verbal meanings and verbal descriptions. It was aimed against the notion that a piece of music is in reality a transcendental idea "expressed in terms of" music, with the reductio ad absurdum implication that exact sets of correlatives must exist between a composer's feelings and his notation. It was offhand and annoyingly incomplete, but even the stupider critics could have seen that it did not deny musical expressivity, but only the validity of a type of verbal statement about musical expressivity. I stand by the remark, incidentally, though today I would put it the other way around: music expresses itself."
 
Discussion starter · #90 · (Edited)
LOL - showing exactly what he did, and did not understand. "Where is the melody" is a common, and simplistic statement, but does show that most people, even the lovers of 'classical music' listen if not completely, mainly then, to only 'the top.'
Sarasate, it seems, did love a good tune. A coarse and plebian taste? Probably his most popular composition is Fantasy on Carmen. Quite fine, but perhaps only for those who do appreciate melody. :)
 
"The greatest source of inspiration is hard work. Of course, I also believe in inspiration itself, but sometimes you have to provoke it, call on it repeatedly, even though it may take a while. There are times when I feel uninspired and I don't want to compose. I call these my 'bewitched' periods. I have to be touched with a magic wand."

- Joaquin Rodrigo
 
“Spanish dance, Spanish poetry, the forms of older Spanish composers all found their place in Rodrigo’s output. And, for all the popularity of the Concierto de Aranjuez, the best of that output is still unknown, works like the exquisitely beautiful Música para un códice salmantino, (a setting of a poem called “Ode to Salamanca” 1953), a cantata for bass, chorus and eleven instruments, or the extraordinarily stark Himnos de los neófitos de Qumran (1965-74), for three sopranos and chamber orchestra, to texts from the Dead Sea Scrolls. If such pieces were better known, the popular image of the lightweight, folky composer, on whom more “serious” connoisseurs rather look down their noses, would have to be drastically revised. Rodrigo’s art may well have been modest in its outward expression, but in addition to its delicate sweetness it also contained the epic and the profound.”

-Martin Anderson

"...His preference for forms rooted in popular tradition, not to be confused with the commonplace, led to clashes with avant-garde circles. And, in all truth, led also to jealousy on the part of many frustrated avant-garde circles. "

-Editorial: “En busca del más allá”. From the article published in the Opinion section of Diario 16, Madrid July 7, 1999.

“The success of Concierto de Aranjuez has somehow eclipsed Rodrigo’s other works. They need to be brought out and rediscovered, and Rodrigo should not be considered the author of only one work because the future will undoubtedly reveal other treasures to us.”

-Julian Bream

“My cup may be small, but I drink from my own cup”

-Joaquin Rodrigo
 
Discussion starter · #100 ·
Ludwig Spohr taking on Beethoven's late quartets and 9th Symphony: "It is true that there are people who imagine they can understand them, and in their pleasure at the claim, rank them far above his earlier masterpieces. But I am not of their number and freely confess that I have never been able to relish the last works of Beethoven. Yes, I must even reckon the much admired Ninth Symphony among these, the three first movements of which seem to me, despite some solitary flashes of genius, worse than all the eight previous symphonies. The fourth movement is, in my opinion, so monstrous and tasteless and, in its grasp of Schiller's Ode, so trivial that I cannot understand how a genius like Beethoven could have written it."
 
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