Today each composer is not only involved in aesthetics, but he's actually trying to create his own language. — Leo Ornstein Copy Share Image
Now, what we are not talking about, what you're really coming to, is what compromises one makes so that the listener understands… — Leo Ornstein Copy Share Image
I think recordings have been a terrific advance because now, when you have a piece of music, particularly something that appears to… — Leo Ornstein Copy Share Image
The danger of that - and there's a grave danger that I, myself, have to be very aware of - is that you become… — Leo Ornstein Copy Share Image
We can use techniques in modifying things, in controlling things, but the first impulse has to be something that you simply cannot make just… — Leo Ornstein Copy Share Image
A person improvising is sometimes very fortunate that just at that second things coincide. — Leo Ornstein Copy Share Image
Because essentially Schoenberg was an extremely gifted man. And in spite of many of his theories and so on, when he really began to… — Leo Ornstein Copy Share Image
To the person that deals in visualizations, I suppose there is something rather exciting about a whole set of people - they all going… — Leo Ornstein Copy Share Image
You write it down because finally, when it's written down you do get it out of your system somewhat. — Leo Ornstein Copy Share Image
By the visual pattern, but mostly I'm guided entirely by my ear, what I hear. — Leo Ornstein Copy Share Image
It doesn't necessarily mean at all that the composer plays his own works best. — Leo Ornstein Copy Share Image
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… — Leo Ornstein Copy Share Image
The difference between the student and the born composer is he really hears the thing, and they have to stage it and manipulate it… — Leo Ornstein Copy Share Image
