Silences between movements are employed only in order to bring the opposing duo to the fore.
These wealthy people were very interested in contemporary music. They wanted to help diffuse it and get it to be known to other people.
In the future (...) people will become more sensitive and aware than they are now. They will have to, because society will become more complicated, more full of people, with more different things happening. People will have to become much cleverer and much sharper. Then they will like my music.
My entire life has really revolved around music that was written about the time that I was born, 1908, to just before the First World War and shortly after it. This music I've always known, and it is that music that's most important to me.
Right at the end of the war I wrote a piano sonata, which was written at a time when Sam Barber used to come down here and we used to have lunch together in a very nice old hotel that's now not there.
Since I'm allergic to various things, the army wouldn't accept me during the war, and I got into the Office of War Information, which sent music to Europe.
The pre-World War I works of Schoenberg, Berg, and Webern, give a glimpse of a new universe of emancipated discourse, unfortunately quickly abandoned when Schoenberg returned to the classical musical shapes upon adopting the twelve-tone system.
That was one of the big problems when I was at Harvard studying music. We had to write choral pieces in the style of Brahms or Mendelssohn, which was distressing because in the end you realized how good Brahms is, and how bad you are.
I've known those pieces ever since I was about 16 or 17; I also at that time was taken to meet Charles Ives whom I got to know fairly well. He was the one who wrote a recommendation for me to get into college.
In any case, Ives encouraged me to go into music even though he himself had such a hard time being a composer.
Then, when the Depression came, all of this changed completely. Since that time, the entire public is of a very different sort and there was not so much support for contemporary music in a direct way.
When I was in Paris, all of the German refugees began to flow in and it was a very sad time.
Talking about a materialistic thing, I get about 13 times more royalties from Europe than I do from America.
Aaron Copland was a man that had a very specific point of view about what music should be which was that, he felt that new music should have the composer should show a personality in his music.
I mean the public likes it more in Europe than they do here because the state supported organizations have felt that playing contemporary music was part of the education of the public.