Quotes About Classical

Classical music only really came into my life in 1969. I wish I had heard classical music and church music when I was a teenager or even as a child.

When I was nine years old, I started playing guitar, and I took classical guitar lessons and studied music theory. And played jazz for a while. And then when I was around fourteen years old, I discovered punk rock. And so I then tried to unlearn everything I had learned in classical music and jazz so I could play in punk rock bands.

The Beatles are a classical group because they're classic.

Liu Fang is a truly gifted, world-famous player of the pipa and the guzheng, classical Chinese stringed instruments.

Today is such a time, when the project of interpretation is largely reactionary, stifling. Like the fumes of the automobile and of heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities. In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art.

I think that's one of the things that has always put me in kind of an odd niche. It's that all of my understanding of orchestral music is via film, not via classical music like it's supposed to be. To me it's the same, it doesn't make any difference.

As for the author, he is profoundly unaware of what the classical or romantic genre might consist of.... In literature, as in allthings, there is only the good and the bad, the beautiful and the ugly, the true and the false.

I remember being in college and taking a class on classical music and getting a big laugh when I said very sincerely that I was not really into trained voices. Some of the greatest singers can transcend their technical perfection and still sound great.

I'm not interested in popular culture. I hate Quentin Tarantino. I rarely go to movies. I hate rock 'n' roll. I work. I think. I listen to classical music. I brood. I like sports cars.

I learned the cello , but I would still need a massive amount of practice. But I do play classical music, so I understand where that comes from.

Unfortunately, the optimistic view that "classical civilization" handed down certain fundamental works that managed to include the knowledge contained in the lost writings has proved groundless. In fact, in the face of a general regression in the level of civilization, it's never the best works that will be saved through an automatic process of natural selection.

That mainstream English is essential to our self-preservation is indisputable . . . but it is not necessary to abandon Spoken Soul to master Standard English, any more than it is necessary to abandon English to learn French or to deprecate jazz to appreciate classical music.

Classical music is a wonderful 1200 year-old tradition that witnesses everything that it has meant and what it means right now to be human.

Way back in the old days, say in Europe of the Middle Ages, you had an aristocracy, and they could afford to pay for musicians. The kings and queens had musicians in the castles, and that developed into symphony orchestras and what we call "Classical music" now.

Another classical music teacher from Performing Arts that I've stayed in contact with is Jonathan Strasser.

The spirit of tanka interests me more than following rigid conventions. As I understand it, the tradition allows a variety of approaches, from simple description and heartfelt expression to classical allusion and evocative wordplay. Succeeding generations rediscover and renew the form so that it retains its vitality.

As someone who's been doing a lot of classical theater recently, I loved the idea of getting to run around in Steven Alan, and not be in a corset and a wig, and not have a dialect, and get to be in a 90-minute play with no intermission, and get to do real comedy.

When I was doing Shakespeare and I had spent a lot of time and effort in trying to become a great Shakespearean actress. That was how I started my career, was in the theater doing Shakespeare. And my ambition was to be a great classical actress. That was what I wanted more than anything. So, I really pursued that in the first four years of my career. And it was an uphill struggle. It really was. Shakespeare's difficult and Shakespeare in a big theater is even more difficult. So, anyway, it was a struggle for me.

As a rule, my focus is on classical music, but I love jazz. I love everything, actually.

There was a stage when Balanchine and I didn't talk. I was trying to develop my classical technique as opposed to the fast-track technique that he was pushing. We were very quiet with each other. But after two years he saw what I was doing and sent messages through other people that, yes, this is good.

Laurence Olivier said if you have ambition to be a serious classical actor, you must be as fit as an athlete. For me, the breakthrough was going to live in California. I exercised. I drank less. It was one of the things about California that had a positive impact on me.

The day is past when schools could afford to give sufficient time and attention to the teaching of the ancient languages to enable the student to get that enjoyment out of classical literature that made the lives of our grandfathers so rich.

If repression has indeed been the fundamental link between power, knowledge, and sexuality since the classical age, it stands to reason that we will not be able to free ourselves from it except at a considerable cost.

Today, Lan Lan is one of my favourite classical pianists.... Years ago I had a great admiration for Arthur Rubinstein but I have no doubt that Franz Liszt and Frederic Chopin were also fantastic piano players - though there is no way to listen to them when they were performing.

Writing detective stories is about writing light literature, for entertainment. It isn't primarily a question of writing propaganda or classical literature.

On horseback you feel as if you're moving in time to classical music; a camel seems to progress to the beat of a drum played by a drunk.

I started getting interested in the notes that I could hear being generated when I hammered on while playing a classical guitar.

I play piano and trumpet. I studied classical guitar.

I haven't come across any recent new ideas in film that strike me as being particularly important and that have to do with form. I think that a preoccupation with originality of form is more or less a fruitless thing. A truly original person with a truly original mind will not be able to function in the old form and will simply do something different. Others had much better think of the form as being some sort of classical tradition and try to work within it.

My family were all into classical music, and I found that very intimidating.

There has been a seismic shift in the business world. The great classical business principles still hold true but they need to be fused with cutting edge internet technology.

Our audience, it has been a more difficult process for classical music audiences around the world, and I'm not completely certain why.

My core competency has really informed my painting. The roots of editing stem from classical paintings - classic painters intended to drive your eye from this conflict to that intrigue, ending with a caprice. That is a montage, that is editing. It became a flipbook in later generations.

It certainly is an embarrassing fact, then, for certain classical scholars to have to face, that the Platonic Academy continued to function in Athens for over nine hundred years.

My parents met in music school and my father was a music professor and conductor. Growing up, we always had classical and contemporary music playing. There was a lot of Mozart and the Beatles.

I listen mostly to classical music.

But the stuff that I do is more like all the comic roles like in The Merry Widow and Die Fledermaus and I just did this Offenbach operetta at the LA Opera. I love it. I just love it. For me, it's like a great mesh of musical theatre and my classical oboe background to be standing on these huge stages with a full orchestra and all the opulence. I'm a complete sucker for the over-the-topness.

At a certain point, I became a kind of musician that has tunnel vision about jazz. I only listened to jazz and classical music.

The sort of commercial parameters of classical music changed after the [World War II] , and the whole industry became more backward-looking.

The notion that Nature does not proceed by jumps is only one of the budget of plausible lies that we call classical education. Nature always proceeds by jumps. She may spend twenty thousand years making up her mind to jump; but when she makes it up at last, the jump is big enough to take us into a new age.

We must consider not only why the classical theory of democracy appears to be in contradiction with the observed practice, but also why the many different responses to this observation, though mutually incompatible, all share the belief that democracy is the best form of political organization.

I went to college on a classical piano scholarship. My grandmother made me practice one full hour a day. Every day. Man. I thought all she wanted was for me not to have any fun. Next thing you know, you have a career in music. Now, not everybody's going to go on and be Mozart or Michael Jackson. But music makes you smarter.

I like to mix and match things so I'm infusing a little bit of jazz, a little bit of classical, a little bit of soul, into the whole blues idiom and I'm coming up with something that I'm really interested in.

For me, because I've had classical theater training, when people say, "Oh, my god, the play is amazing!," I'll never get to see it because I'm in it.

You have to get through the Hamlet hoop as a young actor. Your classical qualifications are based on the quality of your Hamlet. And then, as an older actor, you have to get through the Lear hoop. And I'm approaching the Lear hoop.

Normally classical music is set up so you have professionals on a stage and a bunch of audience - it's us versus them. You spend your entire time as an audience member looking at the back of the conductor so you're already aware of a certain kind of hierarchy when you are there: there are people who can do it, who are on stage, and you aren't on stage so you can't do it. There's also a conductor who is telling the people who are onstage exactly what to do and when to do it and so you know that person is more important than the people on stage.

As far as piano players are concerned, Oscar Peterson is my very favorite. I also like McCoy Tyner. I think that the big jazz stars, both now and in the past...how shall I say it? These guys are as great as Bach, Beethoven; all of them. People don't know it yet. If jazz survives and is put on a pedestal as an art form, the same as classical music has been through the years, a hundred years from now the kids will know who they were, with that kind of respect.

I was never particularly good at listening to people who tried to tell me what to do or not to do. I watched the pros on television and tried to copy their strokes and learn from that. That was easy for me. I have no idea whether my swing meets the classical criteria. Anyhow, it's good enough to be successful.