Quotes About Classical

Personally, I think young musicians need to learn to play more than one style. Jazz can only enhance the classical side, and classical can only enhance the jazz. I started out playing classical, because you have to have that as a foundation.

It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of symphony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work, I called it the Classical Symphony.

But classical music is not entertainment, and I feel viciously strong about that. Classical music is forever. Entertainment is something that is here today, and may be gone tomorrow.

If you look at the image [ Portrait of the Artist as a Shadow of His Former Self ], it treads on a kind of popular stereotypical image of the black figure, in both its flatness and slightly comic edge. To take that image as a starting point and to render it in a proto-classical medium, like egg tempera, and then use a repertoire of classical compositional devices to make the picture was a way of setting up an engagement with art history.

There are three virtuous styles of music; classical, jazz and heavy metal. I do love classical music but I don't listen to it much anymore and I never listen to metal, so I am not very interested in music that is difficult to play.

Quality in a classical Greek sense is how to live with grace and intelligence, with bravery and mercy.

I got obsessed with classical music, I got obsessed with Chopin, with playing the piano.

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 would like for people to not be stuck by the rules of what is expected of a classical musician. If you really want to do something different, don't be afraid to do so. Think of music itself and not the rules or expectations of people.

I went to the Performing Arts School and studied classical ballet. That attitude is something that's put into your head. You are never thin enough.

I became a set designer for opera. I'm a great opera buff, I love classical music, and I needed a time-out.

My landscapes are not only beautiful, or nostalgic, with a Romantic or classical suggestion of lost Paradises, but above all 'untruthful.' By 'untruthful,' I mean the glorifying way we look at Nature. Nature, which in all its forms is always against us, because it knows no meaning, no pity, no sympathy, because it knows nothing and is absolutely mindless, the total antithesis of ourselves.

I did all the musicals in high school, and I loved it. And then I got to theater school at college, and was like, "No, I'm a serious actor. I want to do Shakespeare. I want to do classical theater." I took myself very seriously.

If Balanchine had any secret, it was one that has endured through two hundred years of classical ballet. It is that dancing correctly in three dimensions, on the music, creates the fourth dimension of meaning.

I think any classical training in the theatre is of enormous value.

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.

In Western classical music the idea of holiness, purity, perfection, and total beauty is expressed through clarity of sound - a bell-like sound. Obviously, that has its own place, and it's a beautiful way of doing it. But I don't think I am the first to point out that in Africa, the more buzzing the sound is, the more it indicates the other world - the spirit world.

In HEATHEN, R. Flowers Rivera remixes the classical and the Biblical, the usual and the typical until what we thought we knew of ourselves and others is new again. The mythic becomes particular; the particular becomes mythic in these fascinating poems of personalities and personas. Rivera’s work is rich in empathy and invention. Heathen is a book of psalms for the present day.

You don't need any specialized education and you don't need to know anything about the world in which I work. I think my music should be able to speak to you even if you've never been to a concert of classical music before.

I read and write classical piano and percussion, also guitar.

There are so many people who are interested in classical music. Fortunately, I think many of them are quite young, so it's wonderful to present new programs to them.

I had a great year with Bob Mintzer [at Laguardia School of Arts]. Bob is great. We could have just brought the clarinet or dealt with classical stuff, or brought the flute or just dealt with comp and arranging... what a great teacher.

A lot of blues guitarists play with only three fingers, and they can't figure out certain runs that require the use of their little fingers. Classical training is good for that.

I grew up with classical music, and to a lesser extent electronic music, and that's where I belong, so to speak.

I still play jazz, and I've always got that trumpet very handy, but I'm coming to feel the classical venues are where my main focus is, in the realm of symphonic pops.

I think blues music is music of the soul. Of course, there are other forms. You could call some classical music blues music in that way.

I studied shades, textures by painting after the Old Masters, the classical European paintings, as part of my educational process.

I'm sure there are a few things in my CD collection that might surprise people. I like classical music, the blues, and I'm a big fan of alternative rock.

Over the last 30 years there have been a steadily growing number of architects who are returning to traditional and classical principles.

I always wanted to be a journeyman actor. I wanted to be able to do comedy and drama, classical and contemporary. I like to do film and theater. And I pride myself on that diversity of being a journeyman actor.

I took classical piano lessons from the age of five.

Pop music, which I deeply admire and wish I could play better than I can, is based on expressing one mood, one feeling at a time. Classical music is by its very nature involved with different kinds of music, constantly transforming one another, which is more akin to the way our experience of life really is.

We are used to discounting the river-gods and dryads of the Greeks as poetical fancies, and even the chief figures in the classical Pantheon-Venus, Minerva, Mars, and the rest-as allegories. But, forgetting that they once carried as much sanctity as our saints and divinities, we refrain from applying the same reasoning to our own objects of worship.

Jazz stands for freedom. It's supposed to be the voice of freedom: Get out there and improvise, and take chances, and don't be a perfectionist - leave that to the classical musicians.

A temperate style is alone classical.

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 definitely try to broaden the scope of music. I don't know if it's pop or classical or what, but I'm religiously challenging myself all the time, for better or for worse.

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

I'd like to do some more classical work if I do some more theatre.

What we're doing now, is to try to eradicate the limited notion of how people are interacting with each other through hyper-racialized ideas. A lot of it deal with, as an example, genre. If I ask you to visualize a trap musician or a hip-hop musician, you'll see one thing. If I say visualize a western classical musician, you'll see a very different thing. A lot of how music is disseminated to us is hyper-racialized. It's not something that we think about all the time, but if you take a minute to look back, it's why you get this argument when there's a white rapper.

In fact, among the 1000 titles which I have recorded in the past 35 years, there are less than 10% of classical titles.

Classical theology has erred in its insistence that theology be 'God-centered,' not 'man-centered'.

This freedom of political discussion on the highest level is something which Western civilization has in common with that of classical antiquity, but with no other

I find that jazz loosens up the deep place of my mind, lets me find my own strange rhythms. Generally, I find the knottier the jazz, the better. Anything with singing is a distraction. Listening to classical music tends to have the unconscious effect of making my writing too smooth.

Music was literally in the air at the time, the Vienna of 1780. Everybody played music, classical music. There were in fact so many musicians that in apartment buildings people had to come up with a schedule - you practice at 5 p.m., I'll practice at 6 p.m. That way the music didn't collide with one another.

I listen mostly to classical music.

A Haydn symphony had a meaning for the social group that listened to it. A Mahler symphony had a meaning for the man who composed it. Here is the difference between the classical and romantic attitudes to art.

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.