Lukas Foss Quotes
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The fact that Stravinsky used the classics as a major influence is obvious. What is interesting is how he used them, how he turned Bach into Stravinsky.
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As I sit down and start to work, I often panic. I stare at the empty piece of music paper. How can I say that my piece will be ready for performance next January when I do not have a recipe for making it happen?
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It is obvious that anything a scientist discovers or invents is based on previous discoveries and inventions. The same applies to the arts.
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To come to grips with creativity, I must ask creative, adventurous questions - the kind which, in all likelihood, cannot be answered.
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In the nineteenth century the more grandiose word inspiration began to replace the word idea in the arts.
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Since age seven, I've been composing and have never stopped composing, yet, the creative process is as elusive to me as it has ever been.
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The best way to investigate the elusive phenomenon called the creative process may well be to target all the misconceptions, to explain what the creative process is not.
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Why do we pigeonhole and label an artist? It is a sure way of missing the important, the contradictory, the things that make him or her unique.
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To understand Mozart's contradictory qualities would indeed be to understand genius.
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Mozart wrote so many works in his thirty-five years that it would take a lifetime just to write out the notes. We literally do not know how he did it.
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For years that may mean imitation. Then, one day, it is like a door opening, and a new thought comes in. Why not try this instead. Suddenly he is doing something original, almost in spite of himself.
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To me, Mozart is our Shakespeare, the one who wrote the most dramatic, psychologically most baffling music. He combined ideas that no one else would have thought of putting together.
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It is the element I miss in electronic music - no performance, no loving immersion. Maybe that is why I was never particularly drawn to electronic music.
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I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed, in other words: how the artist made it his own.
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If one uses music that one does not really love, then one will not succeed in making it one's own.
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Most artists have experienced the creative block. We get stuck in our work. We beat our head against the wall: nothing. Sometimes, it is because we are trying something at the wrong time.
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The creative act is like writing a letter. A letter is a project; you don't sit down to write a letter unless you know what you want to say and to whom you want to say it.
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When I went back to visit my native Berlin after World War II, I noticed that the only thing I really remembered from my childhood Berlin days is the shoe store.
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Truth is a big concept.
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Truth implies meaning.
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That is why the analogy of stealing does not work. With a thief, we want to know how much money he stole, and from whom. With the artist it is not how much he took and from whom, but what he did with it.
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There is another interesting paradox here: by immersing ourselves in what we love, we find ourselves. We do not lose ourselves. One does not lose one's identity by falling in love.
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Most people think an artist tries to be original, but originality is the last thing that develops in the artist.
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My students frequently ask what their next project should be. My advice: immerse yourself in the music you love and you will find what you want to do; you will discover your next project.