Quotes About Classical

I listen only to Bach, Beethoven or Mozart. Life is too short to waste on other composers.

It has been shown that, in contrast to everything which classical national economy has hitherto taught, not the producer but the consumer is the ruling factor in economic life.

I loved getting classical training in terms of acting. I would've stayed in acting school for the rest of my life if I could have. It was this amazing period of my life where everything was so safe.

I think it's useful to experience other types of dance and other cultures, and the life of a classical dancer these days is certainly not all tutus! So experience of other dance forms is a good idea.

I play piano and guitar. Acoustic guitar. I tried studying classical guitar when I was 16 but it got really hard. I could never play a lead to save my life.

There is nothing particularly classical about a faun: it is only that the Greeks and Italians have ever had the sharpest eyes. You will find him in the "Tempest" and the "Benedicite;" and any country which has beech clumps and sloping grass and very clear streams may reasonably produce him.

I never took guitar lessons. I took classical piano lessons from the age of six when we lived in Holland. And when we moved to America, it was just the typical thing except I was really good at it so was my brother.

Technology adds a new dimension to the process by providing modern despots with instruments far more efficient than any available to their classical counterparts.

The usual consolations of life, friendship and sex included, appealed to Newton hardly at all. Art, literature, and music had scarcely more allure. He dismissed the classical sculptures in the Earl of Pembroke's renowned collection as "stone dolls." He waved poetry aside as "a kind of ingenious nonsense." He rejected opera after a single encounter. "The first Act I heard with pleasure, the 2d stretch'd my patience, at the 3d I ran away.

When I started music, I started out in Puerto Rico with classical music. But what really made me want to be a musician was jazz, and because I didn't grow up with jazz, I had to learn it from a very basic level. I had to go into the history and learn everything about the development of the music, all the players and all that stuff.

Mozart was a punk, which people seem to forget. He was a naughty, naughty boy.

I started making music with my band in the '80s, so I am more product of post punk than classical music, and I have always carried on this way.

I'm an odd mixture. I'm a sort of Geordie punk who started in classical theatre. It means nobody ever knows quite where to put me, but I like that.

I think punk rock needs an 'Amadeus.'

Until I was around 12 or 13, I only listened to classical music, mostly Tchaikovsky. But around that age, I started listening to Iron Maiden, and that's when I purchased my first guitar, a pearl-white Westone.

I did 500 shows of 'Chaula Devi' and 700 shows of 'Anarkali'. I never mixed the filmy style with classical arts and kept my stage performances pure and it was appreciated.

I wanted to give people - which is fairly bizarre considering my whole life is contemporary dance really - I wanted to give people a really fulfilling sense that they had seen a white classical ballet - in a very pure form.

With 'The Conjuring,' I really wanted to create classical cinema-style film-making, pure cinema as it were.

Only directors like Sanjay Leela Bhansali, who make period films, have songs in their movies that facilitate the inclusion of classical dance forms. No one else is concentrating on making pure classical numbers.

When I was a young musician, the only option available to pursue secondary education in music was to attend a classical conservatory.

I think every classically trained film composer feels to some extent, maybe on some level, that they took the low road, that they could have maybe pursued a career in the concert music world, and perhaps been involved in a higher quality of music.

For me as a writer, Albanian is simply an extraordinary means of expression - rich, malleable, adaptable. As I have said in my latest novel, 'Spiritus,' it has modalities that exist only in classical Greek, which puts one in touch with the mentality of antiquity.

I want an ending that's satisfying. I'm more of a classical writer than a modernist one in that I want the ending to be coherent and feel like an ending. I don't like when it just seems to putter out. I mean, life is chaotic enough.

In Florence, classical buildings sit against medieval buildings. It's that contrast we like.