Music is the real life

In modern life electricity plays a great part.  Sometimes it is used destructively – sometimes creatively – but there is another power which is like electricity, only far more subtle and penetrating.  This power is all-pervading.  It is omnipresent.  If we understood this power we would know the secret of the magical influence of music.  We would understand why the greatest music has such a sway over our hearts and minds and souls – why this invisible, intangible power can so magnetically influence our inner life.  For some of us this inner life – the life of dreams, of imagination, of visions – is the real life – the life we touch intimately.  The outer life seems definite – hard – concrete – but is really remote – the less real life.  This outer life sometimes delights and thrills us – but too often it disappoints us.  It is fleeting – superficial.  But the inner life never disappoints us – it is eternal.

Through music we see a vision, and something in us responds with intense longing – the never-ending thirst of the human soul for beauty – for the Ideal.  In our hearts we know we are in touch with some of life’s highest potentialities – we understand only dimly, but our inner voice tells us that in the greatest music we are vibrating in tune with beauty that is eternal.  When we reach its ultimate essence, music is the voice of the All – the divine melody – the cosmic rhythm – the universal harmony.

Leopold Stokowski, American conductor of Polish origin.

Cited in: Stokowski, Leopold (1943) Music For All Of Us.  New York City: Simon and Schuster, p. 321-322.

Posted

in

by

Greg

Tags:

, , ,

Featured Content

Ravel’s influence on Vaughan Williams
In 1908, after a period of intense period of immersion in English music due to his role as editor of Hymns Ancient and Modern, Vaughan Williams “came to the conclusion that I was lumpy and stodgy, had come to a dead-end, and that a little French polish would be of use to me.” (1) He […]
Mozart on melody
“Melody is the essence of music”, continued he; “I compare a good melodist to a fine racer, and counterpointists to hack post-horses; therefore be advised, let well alone, and remember the old Italian proverb – ‘Chi sa piu, meno sa – Who knows most, knows least’.” The Reminiscences of Michael Kelly, 1826. Cited in: Marshal, […]
The worker and his object
“In all types of creative work the worker and his object become one, man unites himself with the world in the process of creation.” — Erich Fromm
Crosswords
Grade 3 Theory
Content of art
How can you expect a beholder to experience my picture as I experienced it? A picture comes to me a long time beforehand; who knows how long a time beforehand, I sensed, saw, and painted it and yet the next day even I do not understand what I have done. How can anyone penetrate my […]
Form your own interpretation
I have often made the point in masterclasses that students should not listen to lots of recordings of a piece they are learning. I’m always a little horrified when I hear a student say, “My teacher told me to learn the Chopin G minor Ballade, so I went to the library and took out eight […]
Practising an art
Practising an art, no matter how well or badly, is a way to make your soul grow, for heaven’s sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possibly can. You will get an enormous reward. You […]
The power of critics
“Critics sometimes say, about this or that new work – it should betaken up by all our major orchestras and recorded.  It never is.  Critics have great power, but they have no power.” Ned Rorem (2000) Lies: A Diary 1986-1999.  Cambridge: MA: Da Capo Press, p.27.
The effect of audience reception on Stravinsky’s compositional process
Stravinksy on the public not particularly liking his music: Their attitude certainly cannot make me deviate from my path. I shall assuredly not sacrifice my predilections and my aspirations to the demands of those who, in their blindness, do not realize that they are simply asking me to go backwards … I could not follow […]
Here’s a pencil … and an eraser
‘The following is an account of the conductor Hans von Bülow: Young composers whom Bülow decided to feature in the concerts were encouraged to present themselves at the rehearsals, and even to direct the orchestra themselves, whenever it was deemed to be helpful.  We can only admire the resourcefulness of the budding symphonist who, in […]