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.

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

It doesn't necessarily mean at all that the composer plays his own works best.

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.

Improvisation is terribly haphazard.

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.

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.