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Index
Contents
12 INTRODUCTION EARLY MUSIC 1000–1400
22 Psalmody is the weapon of the monk 24 Ut, re, mi, fa, sol, la 26 We should sing psalms on a ten-string psaltery 28 To sing is to pray twice 32 Tandaradei, sweetly sang the nightingale 36 Music is a science that makes you laugh, sing, and dance
RENAISSANCE 1400–1600
42 Not a single piece of music composed before the last 40 years … is worth hearing 43 Tongue, proclaim the mystery of the glorious body 44 Hear the voyce and prayer 46 The eternal father of Italian music 52 That is the nature of hymns—they make us want to repeat them 54 All the airs and madrigals … whisper softness 55 This feast … did even ravish and stupefie all those strangers that never heard the like 56 My lute, awake!
BAROQUE 1600–1750
62 One of the most magnificent and expensefull diversions 64 Music must move the whole man 70 Lully merits with good reason the title of prince of French musicians 72 He had a peculiar genius to express the energy of English words 78 The object of churches is not the bawling of choristers 84 What the English like is something they can beat time to 80 The new Orpheus of our times 82 The uniting of the French and Italian styles must create the perfection of music 90 Do not expect any profound intention, but rather an ingenious jesting with art 92 Spring has come, and with it gaiety 98 The end and final aim of all music should be none other than the glory of God 106 Telemann is above all praise 107 His whole heart and soul were in his harpsichord 108 Bach is like an astronomer, who … finds the most wonderful stars
CLASSICAL 1750–1820
116 Its forte is like thunder, its crescendo a cataract 118 The most moving act in all of opera 120 We must play from the soul, not like trained birds 122 I was forced to become original 128 The most tremendous genius raised Mozart above all masters 132 The object of the piano is to substitute one performer for a whole orchestra 134 We walk, by the power of music, in joy through death’s dark night 138 I live only in my notes
ROMANTIC 1810–1920
146 The violinist isthat peculiarlyhuman phenomenon …half tiger, half poet 148 Give me a laundry list, and I will set it to music 149 Music is truly love itself 150 No one feels another’s grief, no one understands another’s joy 156 Music is like a dream. One that I cannot hear 162 Instrumentation is at the head of the march 164 Simplicity is the final achievement 166 My symphonies would have reached Opus 100 if I had written them down 170 The last note was drowned … in a unanimous volley of plaudits 174 I love Italian opera—it’s so reckless 176 Who holds the devil, let him hold him well 178 And the dancers whirl around gaily in the waltz’s giddy mazes 179 I live in music like a fish in water 180 Opera must make people weep, feel horrified, die 188 He … comes as if sent straight from God 190 The notes dance up there on the stage 192 A symphony must be like the world. It must contain everything 194 Emotional art is a kind of illness 198 If a composer could say what he had to say in words, he would not bother saying it in music
NATIONALISM 1830–1920
206 My fatherland means more to me than anything else 207 Mussorgsky typifies the genius of Russia 208 I am sure my music has a taste of cod fish in it 210 I wanted to do something different 212 The music of the people is like a rare and lovely flower 216 Music is a language of the intangible 218 The art of music above all the other arts is expression of the soul 220 I am a slave to my themes, and submit to their demands 222 Spanish music with a universal accent 223 A wonderful maze of rhythmical dexterities
MODERN 1900–1950
228 I go to see the shadow you have become 232 I want women to turn their minds to big and difficult jobs 240 An audience shouldn’t listen with complacency 246 I haven’t understood a bar of music in my life, but I have felt it 252 And ever winging up and up, our valley is his golden cup 254 Stand up and take your dissonance like a man 256 I have never written a note I didn’t mean 258 Life is a lot like jazz … it’s better when you improvise 262 A mad extravaganza at the edge of the abyss 263 I come with the youthful spirit of my country, with youthful music 264 Musically, there is not a single center of gravity in this piece 266 The only love affair I ever had was with music 268 Science alone can infuse music with youthful vigor 270 A nation creates music. The composer only arranges it 272 I detest imitation. I detest hackneyed devices 273 Balinese music retained a rhythmic vitality both primitive and joyous 274 Real music is always revolutionary 280 My music is natural, like a waterfall 282 Never was I listened to with such rapt attention and comprehension 284 I must create order out of chaos 286 The music is so knit … that it takes you in very strong hands and leads you into its own world 288 Composing is like driving down a foggy road
CONTEMPORARY
298 Sound is the vocabulary of nature 302 I can’t understand why people are frightened of new ideas; I’m frightened of the old ones 306 He has changed our view of musical time and form 308 The role of the musician … is perpetual exploration 309 Close communion with the people is the natural soil nourishing all my work 310 I was struck by the emotional charge of the work 312 Once you become an ism, what you’re doing is dead 314 I desire to carve … a single painful tone as intense as silence itself 316 In music … things don’t get better or worse: they evolve and transform themselves 318 If you tell me a lie, let it be a black lie 320 The process of substituting beats for rests 321 We were so far ahead … because everyone else stayed so far behind 322 This must be the first purpose of art … to change us 323 I could start out from the chaos and create order in it 324 Volcanic, expansive, dazzling—and obsessive 325 My music is written for ears 326 Blue … like the sky. Where all possibilities soar 328 The music uses simple building blocks and grows organically from there … 329 This is the core of who we are and what we need to be
330 DIRECTORY 340 GLOSSARY 344 INDEX 351 QUOTE ATTRIBUTIONS 352 ACKNOWLEDGMENTS
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