There are some people, by the way, that associate a certain amount of visualization with the performance of music. Those are people that really are not centrally concerned only with music, the traditional things.
Leo Ornstein

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.
Leo Ornstein

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

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.
Leo Ornstein

We can use techniques in modifying things, in controlling things, but the first impulse has to be something that you simply cannot make just out of technique, or else it becomes perfectly evident that it is nothing but technique that you're exercising.
Leo Ornstein

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.
Leo Ornstein

When I was speaking about communicating, I meant that the listener - we have to reach the listener; otherwise, of course, you're writing the piece, as I say, only for the satisfaction of seeing it on the paper for yourself, and then it ends right there.
Leo Ornstein

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