The principle of the endless melody is the perpetual becoming of a music that never had any reason for starting, any more than it has any reason for ending.

The one true comment on a piece of music is another piece of music.

Harpists spend 90 percent of their lives tuning their harps and 10 percent playing out of tune.

It is the transcendent (or 'abstract' or 'self-contained') nature of music that the new so called concretism--Pop Art, eighteen-hour slices-of-reality films, musique concrete--opposes. But instead of bringing art and reality closer together, the new movement merely thins out the distinction.

I remember being handed a score composed by Mozart at the age of eleven. What could I say? I felt like de Kooning, who was asked to comment on a certain abstract painting, and answered in the negative. He was then told it was the work of a celebrated monkey. 'That's different. For a monkey, it's terrific'.

The true creator may be recognized by his ability always to find about him, in the commonest and humblest thing, items worthy of note.

Vivaldi didn't write 400 concertos; he wrote one concerto 400 times.