Quotes by Leo Ornstein - Page 1

Improvisation is terribly haphazard.
Leo Ornstein / Composer
Haphazard
Improvisation
Terribly
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I distrust anything that you don't hear.
Leo Ornstein / Composer
Distrust
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Of all the arts, music is really the most abstract.
Leo Ornstein / Composer
Art
Abstract
Art Music
Arts
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But in the end, music is ultimately an aural art, pure and simple.
Leo Ornstein / Composer
Art
Ends
Pure
Simple
Aural
In The End
Ultimately
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Hopefully, I have a certain amount of what you call musical talent.
Leo Ornstein / Composer
Certain
Musical
Musical Talent
Talent
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In writing music, the structure of each piece is a very important factor.
Leo Ornstein / Composer
Important
Pieces
Structure
Writing
Factor
Piece
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By the visual pattern, but mostly I'm guided entirely by my ear, what I hear.
Leo Ornstein / Composer
Ears
Patterns
Visuals
Visual
Ear
Guided
Entirely
Mostly
Pattern
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It doesn't necessarily mean at all that the composer plays his own works best.
Leo Ornstein / Composer
Composer
Mean
Play
Necessarily
Plays
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I think there have been some periods when the writing almost became a bit of a burden.
Leo Ornstein / Composer
Burden
Periods
Thinking
Writing
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A person improvising is sometimes very fortunate that just at that second things coincide.
Leo Ornstein / Composer
Coincidence
Fortunate
Improvising
Persons
Sometimes
Coincide
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You write it down because finally, when it's written down you do get it out of your system somewhat.
Leo Ornstein / Composer
Writing
Written
Somewhat
Finally
Written Down
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Today each composer is not only involved in aesthetics, but he's actually trying to create his own language.
Leo Ornstein / Composer
Aesthetic
Composer
Involved
Language
Today
Trying
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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.
Leo Ornstein / Composer
Moving
Pieces
Writing
Piece
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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.
Leo Ornstein / Composer
Composer
Differences
Equipment
Manipulate
Manipulation
Students
Hears
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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.
Leo Ornstein / Composer
Irrational
Rationality
Establish
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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.
Leo Ornstein / Composer
Difficult
Lines
Way
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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.
Leo Ornstein / Composer
Compromise
Not Talking
Talking
Trying
Compromises
Somewhat
Express
Listener
Understands
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To the person that deals in visualizations, I suppose there is something rather exciting about a whole set of people - they all going symmetrically, up or down, in a military sort of precision.
Leo Ornstein / Composer
Deals
Military
People
Precision
Suppose
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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.
Leo Ornstein / Composer
Pieces
Thinking
Writing
Express
Inner
Piece
Poem
Urge
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Today, with a recording, he can hear the thing enough times until he really gets acquainted with the language, and then he can begin to make an estimate of the intrinsic, aesthetic value of that piece of music.
Leo Ornstein / Composer
Aesthetic
Begin
Acquainted
Estimate
Intrinsic
Piece
Recording
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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.
Leo Ornstein / Composer
Certain
Concerned
People
Traditional
Visualization
Way
Music People Way
Associate
Performance
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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.
Leo Ornstein / Composer
Impossible
Totally
Acts
Altogether
Believe I Believe May
Believe Impossible I Believe
Performance
Superior
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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.
Leo Ornstein / Composer
Men
Ears
Gifted
Spite
Writing
Music Man Your
Began
Ear
Guided
Essentially
Extremely
Internal
Theories
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I think recordings have been a terrific advance because now, when you have a piece of music, particularly something that appears to the listener very complicated, there's really a push to the world to try to figure out what it was that he was hearing.
Leo Ornstein / Composer
Complicated
Pieces
Terrific
Thinking
Trying
Advance
Appears
Particularly
Listener
Piece
Push
Recordings
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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.
Leo Ornstein / Composer
Evident
Exercise
Impulse
Modifying
Technique
Use
Controlling
Exercising
Perfectly
Techniques
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When I was speaking about communicating, I meant that the listener - we have to reach the listener; otherwise, of course, you're writing the piece, as I say, only for the satisfaction of seeing it on the paper for yourself, and then it ends right there.
Leo Ornstein / Composer
Paper
Pieces
Satisfaction
Writing
Meant
Listener
Otherwise
Piece
Reach
Speaking
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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.
Leo Ornstein / Composer
Aesthetic
Danger
Intrigued
Track
Grave
Listener
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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.
Leo Ornstein / Composer
Connections
Patterns
Rhetorical
Want
Connection
Helps
Next Thing
Pattern
Section
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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.
Leo Ornstein / Composer
Decided
Lines
Organized
Pleasure
Satisfaction
Thinking
Together
Besides
Combinations
Diffuse
Frame
Merely
Onto
Pitches
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Leo Ornstein Quotes - Page 1

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