The expressions of the poet cannot be analyzed; his sentence is one word, whose syllables are words. There are indeed no words quite worthy to be set to his music. But what matter if we do not hear the words always, if we hear the music?
(Henry David Thoreau (1817-1862), U.S. philosopher, author, naturalist. A Week on the Concord and Merrimack Rivers (1849), in The Writings of Henry David Thoreau, vol. 1, p. 350, Houghton Mifflin (1906).)
Music is either sacred or secular. The sacred agrees with its dignity, and here has its greatest effect on life, an effect that remains the same through all ages and epochs. Secular music should be cheerful throughout.
(Johann Wolfgang Von Goethe (1749-1832), German poet, dramatist. Wilhelm Meister's Travels, Reflections in the Spirit of the Travellers (1829).)
The dignity of art probably appears most eminently with music since it does not have any material that needs to be discounted. Music is all form and content and elevates and ennobles everything that it expresses.
(Johann Wolfgang Von Goethe (1749-1832), German poet, dramatist. Wilhelm Meister's Travels, Reflections in the Spirit of the Travellers (1829).)
As polishing expresses the vein in marble, and grain in wood, so music brings out what of heroic lurks anywhere. The hero is the sole patron of music.
(Henry David Thoreau (1817-1862), U.S. philosopher, author, naturalist. A Week on the Concord and Merrimack Rivers (1849), in The Writings of Henry David Thoreau, vol. 1, p. 183, Houghton Mifflin (1906).)
Perhaps you can tell me why in this country nobody ever does anything. Nobody ever writes any music or starts any revolutions or falls in love. All anybody ever does is to get drunk and tell smutty stories.
(John Dos Passos (1896-1970), U.S. novelist, poet, playwright, painter. Jimmy Herf in Manhattan Transfer, Houghton Mifflin Company (1925 and 1953).)
You're playing serious music, and you want to be taken seriously. When they get my age wrong on the program, I wish they'd make me older.
(Leila Josefowicz (b. c. 1973), U.S. violinist. As quoted in the New York Times, p. 39 (October 3, 1993).
On being treated as a violin "prodigy" rather than a serious adult violinist. A student at Philadelphia's Curtis Institute of Music, she had already been a soloist with major orchestras and had appeared on television shows.)
The first typical adolescent of modern times was Wagner's Siegfried. : the music of Siegfried expressed for the first time that combination of (provisional) purity, physical strength, naturism, spontaneity and joie de vivre which was to make the adolescent the hero of our twentieth century, the century of adolescence.
(Philippe Ariés (20th century), French historian. Centuries of Childhood, pt. 1, ch. 1 (1962).)
Music is of two kinds: one petty, poor, second-rate, never varying, its base the hundred or so phrasings which all musicians understand, a babbling which is more or less pleasant, the life that most composers live.
(Honoré De Balzac (1799-1850), French novelist. In The Works of Honoré de Balzac, vol. IV, trans. by George Saintsbury (1971). Massimilla's observation, in Massimilla Doni.)