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Leo Ornstein

You write it down because finally, when it's written down you do get it out of your system somewhat.

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Today each composer is not only involved in aesthetics, but he's actually trying to create his own language.

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I'm really interested in writing a piece of music that will move you, that will really move you. That is really the only reason that I'm writing music.

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The difference between the student and the born composer is he really hears the thing, and they have to stage it and manipulate it by technical equipment.

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By the way, the point between rationality and what we would call the irrational is a very difficult point to establish. There's no specific line, as you know.

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Now, what we are not talking about, what you're really coming to, is what compromises one makes so that the listener understands somewhat of what you're doing, what you're trying to express.

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To the person that deals in visualizations, I suppose there is something rather exciting about a whole set of people - they all going symmetrically, up or down, in a military sort of precision.

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No, I think that a person writes a poem because they have an inner urge of something that they want to express, and I think it's that inner urge that you want to express when you write a piece of music.

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Today, with a recording, he can hear the thing enough times until he really gets acquainted with the language, and then he can begin to make an estimate of the intrinsic, aesthetic value of that piece of music.

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Well, no. I believe that it's not at all impossible that some of the performances that I've heard so far by some pianists may be superior to my own playing because those are two totally different acts altogether.

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