Leo Ornstein Quotes

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I think there have been some periods when the writing almost became a bit of a burden.

Today each composer is not only involved in aesthetics, but he's actually trying to create his own language.

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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...

Of all the arts, music is really the most abstract.

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

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...

But in the end, music is ultimately an aural art, pure and simple.

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,...

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.

You write it down because finally, when it's written down you do get it out of your system somewhat.

Improvisation is terribly haphazard.

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

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

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...

I distrust anything that you don't hear.

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...

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...

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.

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.

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.

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