Organists

"William's chief reference... was A Complete System of Opticks, a two-volume work published in 1738 by Robert Smith, the same author whose [mathematics] book on harmonics [Harmonics, or The Philosophy of Musical Sounds] had captivated him more than a decade earlier. Smith explained the theory of optics but also gave step-by-step instructions on how to apply it to the construction and use of astronomical telescopes. ...word reached him that a Quaker gentleman who lived nearby was giving up his hobby, which just happened to be grinding telescope mirrors. William bought up his tools and some partially finished mirrors. The man gave him some lessons and then, armed with Smith's instructions, he went to work."

"William Herschel was the first man to give a reasonably correct picture of the shape of our star-system or galaxy; he was the best telescope-maker of his time, and possibly the greatest observer who ever lived."

""Planetarium" was written after a visit to a real planetarium, where I read an account of the work of Caroline Herschel, the astronomer, who worked with her brother William, but whose name remained obscure, as his did not."

"In consequence of the harassing and fatiguing life he had led during the winter months, he used to retire to bed with a bason of milk or glass of water, and Smith's 'Harmonics and Optics,' Ferguson's 'Astronomy,' &c., and so went to sleep buried under his favourite authors; and his first thoughts on rising were how to obtain instruments for viewing those objects himself of which he had been reading."

"It soon appeared that my brother was not contented with knowing what former observers had seen, for he began to contrive a telescope eighteen or twenty feet long (I believe after Huyghens description)..."

"I was much hindered in my musical practice by my help being continually wanted in the execution of the various contrivances, and I had to amuse myself with making the tube of pasteboard for the glasses which were to arrive from London, for at that time no optician had settled at Bath. But when all was finished, no one besides my brother could get a glimpse of Jupiter or Saturn, for the great length of the tube would not allow it to be kept in a straight line. This difficulty, however, was soon removed by substituting tin tubes."

"My brother wrote to inquire the price of a reflecting mirror for (I believe) a five or six foot telescope. The answer was, there were none of so large a size, but a person offered to make one at a price much above what my brother thought proper to give... About this time he bought of a Quaker resident at Bath, who had formerly made attempts at polishing mirrors, all his rubbish of patterns, tools, hones, polishers, unfinished mirrors, &c., but all for small Gregorians, and none above two or three inches diameter."

"To my sorrow I saw almost every room turned into a workshop. A cabinetmaker making a tube and stands of all descriptions in a handsomely furnished drawing-room. Alex [a brother] putting up a huge turning machine (which he had brought in the autumn from Bristol where he used to spend the summer) in a bedroom, for turning patterns, grinding glasses, and turning eye-pieces &c. At the same time music durst not lie entirely dormant during the summer, and my brother had frequent rehearsals at home..."

"According to Herschel, the sun consisted of three essentially different parts. First, there was a solid nucleus, non-luminous, cool, and even capable of being inhabited. Second, above this was an atmosphere proper; and, lastly, outside of this was a layer in which floated the clouds, or bodies which gave to the solar surface its intense brilliancy."

"In 1783 he published his paper On the Proper Motion of the Solar System which contained the proofs of his surmises of a year before. ...His second paper on the Direction and Velocity of the solar system (1805) is the best example that can possibly be given of his marvellous skill in reaching the heart of a matter, and it may be the one in which his philosophical powers appear in their highest exercise. For sustained reflection and high philosophic thought it is to be ranked with the researches of Newton in the Principia."

"Herschel's method of study was founded on a mode of observation which he called star-gauging. It consisted in pointing a powerful telescope toward various parts of the heavens, and ascertaining by actual count how thick the stars were in each region. His twenty-foot reflector was provided with such an eye-piece that, in looking into it, he saw a portion of the heavens about 15' in diameter. A circle of this size on the celestial sphere has about one quarter the apparent surface of the sun, or of the full moon. On pointing the telescope in any direction, a greater or less number of stars were visible. These were counted, and the direction in which the telescope pointed was noted. Gauges of this kind were made in all parts of the sky, and the results were tabulated in the order of right ascension."

"Herschel's argument was... Since with such a telescope one can see a star ten times as far off as is possible to the naked eye, this telescope has the power of penetrating into space ten times farther than the eye alone. But this number ten, also, expresses the ratio of the diameter of the objective to that of the pupil of the eye, consequently the general law is that the space-penetrating power of a telescope is found by dividing the diameter of the mirror in inches by two-fifths. The diameter of the pupil of the eye (two fifths of an inch) Herschel determined by many measures."

"Having tried many varieties of shade-glasses between the eye-piece of his telescope and the eye, in order to reduce the inordinate degree of heat and light transmitted by the instrument when directed towards the sun, he observed that certain combinations of colored glasses permitted very little light to pass, but transmitted so much heat that they could not be used; while, on the other hand, different combinations and differently colored glasses would stop nearly all the heat, but allow an inconveniently great amount of light to pass. At the same time he noticed, in the various experiments, that the images of the sun were of different colors. This suggested the question as to whether there was not a different heating power proper to each color of the spectrum. On comparing the readings of sensitive thermometers exposed in different portions of an intense solar spectrum, he found that, beginning with the violet end, he came to the maximum of light long before that of heat, which lay at the other extremity, that is, near the red. By several experiments it appeared that the maximum of illumination, i.e., the yellow, had little more than half the heat of the full red rays; and from other experiments he concluded that even the full red fell short of the maximum of heat, which, perhaps, lay even a little beyond the limits of the visible spectrum."

"A third and last paper in this department of physics [the infrared and light spectrum]... was published in volume ninety of the Philosophical Transactions and gave the results of two hundred and nineteen quantitative experiments. ...Herschel made a careful determination of the quantitative distribution of light and of heat in the prismatic spectrum, and discovered the surprising fact that not only where the light was at a maximum the heat was very inconsiderable, but that where there was a maximum exhibition of heat, there was not a trace of light. ...Herschel ...finally concluded that light and radiant heat were of essentially different natures... for a long time the question was looked upon as closed, and not until thirty-five years later was there any dissent. Then the Italian physicist, Melloni, with instrumental means a thousand times more delicate than that of Herschel, and with a far larger store of cognate phenomena, collected during the generation which had elapsed... discovered the true law."

"Groups which remain nebulous in a seven-foot telescope, become stellar in a ten-foot. The nebulosity of the ten-foot can be resolved into stars by the twenty-foot, and so on. The nebulæ which remained still unresolved, it was reasonable to conclude, would yield to higher power, and generally a nebula was but a group of stars removed to a great distance. An increase of telescopic power was alone necessary to demonstrate this. So, at first, Herschel believed that his twenty-foot telescope was of power sufficient to fathom the Milky Way, that is, to see through it and beyond it, and to reduce all its nebulosities to true groups of stars. In 1791 he published a memoir on Nebulous Stars, in which his views were completely changed. He had found a nebulous star... to which his reasons would not apply. In the centre of it was a bright star; around the star was a halo gradually diminishing in brightness from the star outward, and perfectly circular. It was clear the two parts, star and nebula, were connected and thus at the same distance from us. ...The hypothesis of an elastic shining fluid existing in space, sometimes in connection with stars, sometimes distinct from them, was adopted and never abandoned. ...in late years we have seen the reverse of the process imagined by Herschel. A star has actually, under our eyes, become a planetary nebula, and the cycle of which he gave the first terms is complete."

"Dem höchsten Gott allein zu Ehren, Dem Nächsten draus sich zu belehren."

"JS Bach has been called 'the supreme arbiter and law-giver of music'. He is to music what Leonardo da Vinci is to art and Shakespeare is to literature, one of the supreme creative geniuses of history."

"Bach opens a vista to the universe. After experiencing him, people feel there is meaning to life after all."

"All roads lead to Bach."

"I would vote for Bach, all of Bach, streamed out into space, over and over again. We would be bragging of course."

"Pongileoni's bowing and the scraping of the anonymous fiddlers had shaken the air in the great hall, had set the glass of the windows looking onto it vibrating: and thus in turn had shaken the air in Lord Edward's apartment on the further side. The shaking air rattled Lord Edward's membrane tympani; the interlocked malleus, incus, and stirrup bones were set in motion so as to agitate the membrane of the oval window and raise an infinitesimal storm in the fluid of the labyrinth. The hairy endings of the auditory nerve shuddered like weeds in a rough sea; a vast number of obscure miracles were performed in the brain, and Lord Edwards ecstatically whispered "Bach!""

"Bach is, for me, the touchstone that keeps my playing honest. Keeping the intonation pure in double stops, bringing out the various voices where the phrasing requires it, crossing the strings so that there are not inadvertent accents, presenting the structure in such a way that it's clear to the listener without being pedantic - one can't fake things in Bach, and if one gets all of them to work, the music sings in the most wonderful way."

"I think that if I were required to spend the rest of my life on a desert island, and to listen to or play the music of any one composer during all that time, that composer would almost certainly be Bach. I really can't think of any other music which is so all-encompassing, which moves me so deeply and so consistently, and which, to use a rather imprecise word, is valuable beyond all of its skill and brilliance for something more meaningful than that – its humanity."

"The prerequisite of contrapuntal art, more conspicuous in the work of Bach than in that of any other composer, is an ability to conceive a priori of melodic identities which when transposed, inverted, made retrograde, or transformed rhythmically will yet exhibit, in conjunction with the original subject matter, some entirely new but completely harmonious profile."

"For Bach, it wasn't finality that mattered in music, it was simply the joyous essence of being."

"One of the most extraordinary things about history's most extraordinary musician is the fact that this man's music, which exerts such a magnetic attraction for us today, against which we tend to measure much of the achievement in the art of music in the last two centuries, that this music had absolutely no effect on either the musicians or the public of his own day. And the strange thing about Bach is that he doesn't at all fit our conception of the misunderstood genius who was years ahead of his time. He was certainly misunderstood, but not because he was ahead of his time, rather because according the musical disposition of that day, he was generations behind it."

"My hero was J. S. Bach. It was from his works that I came to understand mathematics and, through a greater understanding of math, came to a greater understanding of Bach—the golden ratio, the rise of complexity through the reiteration of simple elements, the presence of the cosmic in the common."

"To be able to hear J. S. Bach take a melody and improvise what amounts to a spontaneous composition is the most amazing thing I can think of."

"To Bach, notes were not just sounds but the very stuff of creation."

"Bach is the immortal God of Harmony."

"Not brook, but ocean should be his name (Bach is the German word for brook.)"

"Und soll wie aller Musik also auch des Generalbasses Finis und Endursache anders nicht als nur zu Gottes Ehre und Recreation des Gemütes sein. Wo dieses nicht in acht genommen wird, ists keine eigentliche Musik, sondern ein Teuflisches Geplerr und Geleier."

"Ich überhaupt vielseitigkeit nicht recht mag, oder eigentlich nicht recht daran glaube. Was eigenthümlich, und schön, und groß sein soll, das muß einseitig sein."

"Die Leute beklagen sich gewöhnlich, die Musik sei so vieldeutig; es sei so zweifelhaft, was sie sich dabei zu denken hätten, und die Worte verstände doch ein Jeder. Mir geht es aber gerade umgekehrt. Und nicht blos mit ganzen Reden, auch mit einzelnen Worten, auch die scheinen mir so vieldeutig, so unbestimmt, so mißverständlich im Vergleich zu einer rechten Musik, die einem die Seele erfüllt mit tausend besseren Dingen als Worten. Das, was mir eine Musik ausspricht, die ich liebe, sind mir nicht zu unbestimmte Gedanken, um sie in Worte zu fassen, sondern zu bestimmte."

"Und sind Sie mit mir einer Meinung, daß es die erste Bedingung zu einem Künstler sei, daß er Respekt vor dem Großen habe, und sich davor beuge, und es anerkenne, und nicht die großen Flammen auszupusten versuche, damit das kleine Talglicht ein wenig heller leuchte?"

"A prophet such as we could use again today, strong, zealous, angry and gloomy in opposition to the leaders, the masses, indeed the whole world. (Letter to his pastor Julius Schubring, 1846, regarding Mendelssohn's choral work 'Elijah' published that year)"

"Now, as discord is allowable, and even necessarily opposed to concord, why may not noise, or a seeming jargon, be opposed to fixed sounds and harmonical proportion? Some of the discords in modern music, unknown till this century, are what the ear can but just bear, but have a very good effect as to contrast. The severe laws of preparing and resolving discord, may be too much adhered to for great effect; I am convinced that provided the ear be at length made amends, there are few dissonances too strong for it."

"The umbrage given to Cuzzoni by her [ Faustina Bordoni's] coming hither, proves that as Turkish monarchs can bear no brother near the throne, an aspiring sister is equally obnoxious to a theatrical Queen."

"With respect to excellence of Style and Composition, it may perhaps be said that to practised ears the most pleasing Music is such as has the merit of novelty, added to refinement, and ingenious contrivance; and to the ignorant, such as is most familiar and common."

"He certainly over-heated himself at Venice by walking at a season when it is said that only Dogs and Englishmen are seen out of doors at noon, all else lie down in the middle of the day."

"In the negro melodies of America I discover all that is needed for a great and noble school of music. They are pathetic, tender, passionate, melancholy, solemn, religious, bold, merry, gay or what you will. It is music that suits itself to any mood or any purpose. There is nothing in the whole age of composition that cannot be supplied with themes from this source."

"The Americans expect great things of me... If the small Czech nation can have such musicians, they say, why could not they, too, when their country and people is so immense."

"The music of the people is like a rare and lovely flower growing amidst encroaching weeds. Thousands pass it, while others trample it under foot, and thus the chances are that it will perish before it is seen by the one discriminating spirit who will prize it above all else. The fact that no one has as yet arisen to make the most of it does not prove that nothing is there."

"It cannot be emphasized too strongly that art, as such, does not "pay," to use an American expression – at least, not in the beginning – and that the art that has to pay its own way is apt to become vitiated and cheap."

"I am now satisfied that the future music of this country must be founded upon what are called negro melodies. This must be the real foundation of any serious and original school of composition to be developed in the United States."

"Sorrowful and great is the artist's destiny."

"Composer, teacher, Abbé, Casanova, writer, sage, pioneer and champion of new music, philanthropist, philosopher and one of the greatest pianists in history, Franz Liszt was the very embodiment of the Romantic spirit. He worked in every field of music except ballet and opera and to each field he contributed a significant development."

"Perhaps the greatest source of wonder in Liszt's life was that he composed anything at all, let alone anything of lasting greatness. The man who, from an early age, had crisscrossed Europe as the greatest travelling virtuoso, providing, with the onset of puberty, much material for gossip columns, might have been forgiven for taking the Wildean view, 'My art is my life', and leaving it at that. [...] Exactly how Liszt could have found the time to compose is difficult to imagine."

"His playing was free, poetic, replete with imaginative shadings, and, at the same time, characterized by noble, artistic repose. And his technique, his virtuosity? I hesitate to speak if it. It suffices to observe that he has not lost it but has rather added to it in clarity and moderation. What a remarkable man! After a life incomparably rich and active, full of excitement, passion, and pleasure, he returns at the age of sixty-two and plays the most difficult music with the ease and strength and freshness of a youth…."

"I carry a deep sadness of the heart which must now and then break out in sound."