Prose is architecture, not interior decoration, and the Baroque is over.
I would define the baroque as that style that deliberately exhausts (or tries to exhaust) its own possibilities, and that borders on self-caricature. The baroque is the final stage in all art, when art flaunts and squanders its resources.
Borne out of this, starting around the 17th Century was the Baroque era. It is my view that it is one of the architectural peak periods in western civilisation.
A contemporary artist can use the findings of all epochs and all styles, from the most primitive literary expressions up to the most refined products of the baroque.
I still the love classic period, but also the baroque period, and even 17th-Century music such as the music of Monteverdi. He's one of the greatest opera composers. He was the one who really started the opera.
Has it struck you that the music which is regarded as the most sublime in western civilization, which is the music of Bach, is called baroque?
It is the Late city that first defies the land, contradicts Nature in the lines of its silhouette, denies all Nature. It wants to be something different from and higher than Nature. These high-pitched gables, these Baroque cupolas, spires, and pinnacles, neither are, nor desire to be, related with anything in Nature. And then begins the gigantic megalopolis, the city-as-world, which suffers nothing beside itself and sets about annihilating the country picture.
Classical, Romantic, and Baroque music, that's what I really like.
Baroque sculpture and interior design has a quality of creating an environment that seems organic because it's full of curves and details, like a forest.
Mozart, Pascal, Boolean algebra, Shakespeare, parliamentary government, baroque churches, Newton, the emancipation of women, Kant, Balanchine ballets, et al. don’t redeem what this particular civilization has wrought upon the world. The white race is the cancer of human history.
Find what gave you emotion; what the action was that gave you excitement. Then write it down making it clear so that the reader can see it too. Prose is architecture, not interior decoration, and the Baroque is over.
I think in Baroque music, especially in the case of Bach, what really transformed Bach's musical language, what changed it for him was hearing Vivaldi, hearing the sort of manipulation of small cells of information and patterns in order to generate sort of huge blocks of harmony.
I was attracted by the curve — the liberated, sensual curve suggested by the possibilities of new technology yet so often recalled in venerable old baroque churches.
Do whatever you please, follow your own star; be original if you want to be and don’t if you don’t want to be. Just be natural and gay and light-hearted and pretty and simple and overflowing and general and baroque and bare and austere and stylised and wild and daring and conservative, and learn and learn and learn. Open your mind to every form of beauty.
The white race is the cancer of human history.
When I think about the reference to baroque, I'm most interested in how art was integrated into domestic life. That's why I like fresco, because fresco is part of the wall. It's art, but it's decoration at the same time.
My thesis statement would be—Bach didn't write Baroque music. He wrote great music.
For my own singing, I used to be attracted by the baroque, the flashier the better, but now I prefer a simpler, purer style.
But then life is never neat, it is made up of doors and trapdoors. You move down baroque corridors, and even when you think you know which door to open, you still need to have the courage to choose.
Normally, things are viewed in these little segmented boxes. There's classical, and then there's jazz; romantic, and then there's baroque. I find that very dissatisfying. I was trying to find the thread that connects one type of music - one type of musician - to another, and to follow that thread in some kind of natural, evolutionary way.
I listen to music when I write. I need the musical background. Classical music. I'm behind the times. I'm still with Baroque music, Gregorian chant, the requiems, and with the quartets of Beethoven and Brahms. That is what I need for the climate, for the surroundings, for the landscape: the music.
One person looks around and sees a universe created by a god who watches over its long unfurling, marking the fall of sparrows and listening to the prayers of his finest creation. Another person believes that life, in all its baroque complexity, is a chemical aberration that will briefly decorate the surface of a ball of rock spinning somewhere among a billion galaxies. And the two of them could talk for hours and find no great difference between one another, for neither set of beliefs make us kinder or wiser.
I was trying to run something to ground that had come to my attention when I was working on the Baroque Cycle. That series, of course, was about the conflict between Newton and Leibniz. Leibniz developed a system of metaphysics called monadology, which looked pretty weird at the time and was promptly buried by Newtonian-style physics.
Eiffel saw his Tower in the form of a serious object, rational, useful; men return it to him in the form of a great baroque dream which quite naturally touches on the borders of the irrational ... architecture is always dream and function, expression of a utopia and instrument of a convenience.
It's art that pushes against psychological and social expectations, that tries to transform decay into something generative, that is replicative in a baroque way, that isn't about progress, and wants to - as Walt Whitman put it - 'contain multitudes.'
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