Composers From England

"It's no exaggeration to say that modern astronomy was invented, more or less single-handedly, by William Herschel in the last decades of the eighteenth century."

"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."

"In 1800 he had published his momentous discovery of infra-red rays; and in 1803 and 1804 his re-examination of double stars would reveal examples where the two components had orbited each other, visual proof that attractive forces...operated outside the solar system. ...between 1811 and 1818 he published four great synthetic papers on the construction of the heavens, in which he expounded the life-story of nebulae and clusters as they developed over time under the influence of gravity. ...Soon, development over time—in contrast to the unchanging clockwork universe of Newton and Leibniz—would become and remain part of astronomical thinking."

"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."

"William's catalogues [of nebulae] are... of the greatest significance in the story of the astronomy of the large-scale universe."

""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 my heart she's my kind of girl."

"What kind of fool am I? I never fell in love."

"The Candy Man can"

"My attitude to writing is.. it's like when you do wallpapering, you know, you remember where all the little bits are that don't meet, you think: "Oh my God that's horrible..." And then your friends come and say: "Who did this wallpapering? It's terrific!""

"I like to think that if music hadn't existed, I could have invented it."

"Composing's not voluntary, you know. There's no choice, you're not free. You're landed with an idea and you have responsibility to that idea."

"We shall never know of the numbers of "mute and inglorious Miltons" who failed because the place and time were not ready for them…Was not Sullivan a jewel in the wrong setting?"

"Goss and Bennett…trained him to make Europe yawn; and he took advantage of their training to make London and New York laugh and whistle."

"After all we [have] each of us only eight notes to work upon."

"The theatre is not the place for the musician. When the curtain is up the music interrupts the actor, and when it is down the music interrupts the audience."

"I am astonished and somewhat terrified at the results of this evening's experiments – astonished at the wonderful power you have developed, and terrified at the thought that so much hideous and bad music may be put on record forever! … I think it is the most wonderful thing that I have ever experienced, and I congratulate you with all my heart on this wonderful discovery."

"One day work is hard, and another day it is easy; but if I had waited for inspiration I am afraid I should have done nothing. The miner does not sit at the top of the shaft waiting for the coal to come bubbling up to the surface. One must go deep down, and work out every vein carefully."

"Marriage is like the Middle East, isn't it? There's no solution."

"I'm not sayin' she's a bragger, but if you've been to Paradise, she's got a season ticket."

"Well, I flung the window open an' I shouted, "Yes, that's right Millandra – I'm goin' to Greece for the sex; sex for breakfast, sex for dinner, sex for tea, an’ sex for supper." Well, she just ignored me but this little cab driver leans out an' pipes up, "That sounds like a marvellous diet, love." "It is," I shouted back, "have y' never heard of it? It's called the 'F' Plan.""

"She divorced her husband, y' know. I never knew him, it was before I met Jane. Apparently she came back from work one mornin' an' found her husband in bed with the milkman. With the milkman, honest to God. Well, apparently, from that day forward Jane was a feminist. An' I've noticed, she never takes milk in her tea."

"Rita: Will they sack you. Frank: [lying flat on the floor] The sack? God no; that would involve making a decision. Pissed is all right. To get the sack, it'd have to be rape on a grand scale; and not just with students either. [Rita gets up and moves across to look at him] That would only amount to a slight misdemeanour. For dismissal it'd have to be nothing less than buggering the bursar."

"Rita: Have they sacked y'? Frank: Not quite. Rita: Well, why y' – packing your books away. Frank: Australia. [After a pause] Some weeks ago – made rather a night of it. Rita: Did y' bugger the bursar? Frank: Metaphorically."

"Frank: There, you see, an example of assonance. Rita: Oh, it means getting' the rhyme wrong."

"We're really not very good about putting music in a social and political context, particularly classical music. It's all sort of above everything. But in South Africa, everything is politicised. You play a piece of classical music out there and you are making a real cultural statement. Or you play with a marimba band and you are saying something else. I think that's the way things should be. The way people write about music makes it seem completely devoid of social context. And audiences drift away as a result."

"The freedom of improvising over a bass line disappeared from music only in the 19th century, and we're still paying for it. There's a culture among classical musicians of being passive, and it stems from following the notes, rather than one's own instincts."

"Classical musicians can sometimes get very hung up on the idea that there's a right way and there's a wrong way. You can see this destroy a lot of players. Jazz musicians have a way of understanding that there are a lot of different ways of doing things. That's what's great about them, they're so friendly. And they are so individualistic - that's why they can accept someone like me."

"Classical music has struggled to keep up. Unlike any other art form, it keeps on looking backwards all the time. It used to have a real museum culture. Then it went: "Oh my God, what are we going to do? Call for Nigel Kennedy. Quick!" Classical musicians have got to change or die,' she asserts strongly, 'but they just don't know how to. Audiences for classical music have dropped. The old blue rinse audience is dying out, and young people aren't coming in."

"My favorite composers tend to be great improvisers as well as great players. It doesn't matter whether they're contemporary or classical."

"The musicians who interest me most are people like Nitin Sawhney, Talvin Singh, Django Bates. They are not just writing music but performing it, recording it, putting tours together and running their own labels. That is what real musicians are, rather than over-publicised specialists."

"You don't rely on a great army of people to spoon-feed you. Today's classical-music world is very self-defeating. I love the fact that all these corporations are falling apart. They're sinking millions into acts and getting it wrong. And I know why - it's not about the music, or the audiences. So in many ways this is a very encouraging time."

"A lot of musicians are going to have to retrain. It's nonsense to say that traditional classical music is more complex. Contemporary pieces by Harrison Birtwistle are much harder to play than Mozart or Wagner. I know a lot of people don't want to hear that."

"I think there is an incredible crisis now of how we train performers. Their training encourages them to behave as though they are back in the 19th century, and they are not allowed to get out of that box very much. 'If they play a tiny bit of contemporary music, it's looked on as a bit eccentric, and it's sort of tolerated instead of absolutely encouraged. And they certainly can't improvise, and they find it difficult to encounter jazz or jazz styles. 'I think they're all waking up to this, and it's very difficult for them, because the training and the value systems that get put on them go against what we all know to be the real world. Musicians do want to break out of these constraints. It's slightly boring to just play the same cycle of pieces over and over again."

"In a lot of classical playing there isn't much expressiveness: I don't hear a voice in the playing. What I really admire about jazz musicians is that they develop a sound early on and it's unique to them. Classical players are screened from that by always playing other people's notes."

"You can give music variation without changing the notes. When you get close to a piece there will inevitable be tinkering. I sometimes wonder if concert pianists expend so much effort and energy finding new ways to interpret that what they really need is some more direct form of self-expression."

"As a professional I practice six or seven hours per day, though it depends on my schedule. That's how it is as a musician. It's only when you reach grade five you take them more serious. Until then I saw it as fun. I used to learn them by play pop tunes on the piano. They have harmonies and broken chords and can be used as building blocks to help you with scales."

"Being a specialist is a 20th century thing, and now rather old fashioned as an idea. I realised early on that you can be the kind of superstar who jets around playing the same programmes all over the world, or you can be the sort of musician who perhaps can be a little influential."

"I didn't go to school until I was 11. On your own you develop imagination."

"As I get older I realise that start has made me rather, well, different. It set down a tremendous template for the rest of my life. I grew up believing the piano is a great instrument because you can play everything on it."

"My education was very intensive and I applied that training later on to playing the piano. I had always played, but having no one to compare myself to, I had no idea if I was any good."

"I can see it must seem strange, but to me it was normality. Really, my memory of my childhood is that the sun always shone and I spent all my time playing in the park. Since then I've discovered that some of the great musicians I admire - Charles Ives, John Cage, even Bob Dylan - had quite unconventional childhoods." Evening Standard - 04/07/2002"

"I want to move away from complexity. I've done my time as far as virtuosity and piles of notes are concerned. It's what puts me off a lot of contemporary classical music - there are so many notes. In fact, I think I'm moving away from classical music altogether. I'm not sure that in 10 years' time I'll be playing it at all."

"Not only was I fiddling around at the keyboard but there were all these other children of all backgrounds wanting to play every sort of music bits of classical, jazz, pop, improvisation." The Guardian - 26/05/2000"

"It's a life of planes and trains."

"I don't really go along with this sense that you sometimes pick up - that is, classical music is superior to everything else. I think classical music is a very great music form, but I can also think of other great music forms. And certainly within each field, you have absolute geniuses operating. Over the years, I've tried to bring together different people from different fields, and I do try to put Bach and Beethoven next to other types of musicians."

"School was strange, rather amusing - with a teacher standing at the front telling you what to write. The camaraderie was interesting. I tend to remember the things you can't recreate on your own - queuing up for your dinner, learning team games, which were a complete mystery to me. I remember having to pretend I knew how to play hockey, that kind of thing." The Mail on Sunday - 06/02/2000"

"What was most odd was that teachers would tell you what to do and what to think and they would write everything on a blackboard and you would copy it all down." The Evening Standard - 04/07/2002"

"I'm becoming very interested in non-Western things, and in Europe a lot of what's offered to me is the Western tradition I've grown up with. Now I've got to find a way out, but the problem is that the piano is just about as Western as you can get. The piano's my instrument, and I wouldn't want it any other way, but I'm gravitating quite naturally towards things that have developed my sense of rhythm. "I've come to all this incredible Indian classical music and its more modern formations late in the day; the Messiaen I've played has led me down that road, and I've been following my nose all the time."