A person improvising is sometimes very fortunate that just at that second things coincide.
Leo Ornstein

Because essentially Schoenberg was an extremely gifted man. And in spite of many of his theories and so on, when he really began to write music, he still was guided very much by his internal hearing, by what we call your internal ear.
Leo Ornstein

Besides merely some pleasure that we get out of the combinations of pitches together and lines, I think that there is some satisfaction that we get in the fact of having this diffuse thing organized very concretely and put onto a frame and have it actually decided.
Leo Ornstein

But in the end, music is ultimately an aural art, pure and simple.
Leo Ornstein

By the visual pattern, but mostly I'm guided entirely by my ear, what I hear.
Leo Ornstein

By the way, the point between rationality and what we would call the irrational is a very difficult point to establish. There's no specific line, as you know.
Leo Ornstein

Hopefully, I have a certain amount of what you call musical talent.
Leo Ornstein

I distrust anything that you don't hear.
Leo Ornstein

I think recordings have been a terrific advance because now, when you have a piece of music, particularly something that appears to the listener very complicated, there's really a push to the world to try to figure out what it was that he was hearing.
Leo Ornstein

I think there have been some periods when the writing almost became a bit of a burden.
Leo Ornstein

I'm really interested in writing a piece of music that will move you, that will really move you. That is really the only reason that I'm writing music.
Leo Ornstein

Improvisation is terribly haphazard.
Leo Ornstein

In writing music, the structure of each piece is a very important factor.
Leo Ornstein

It doesn't necessarily mean at all that the composer plays his own works best.
Leo Ornstein

No, I think that a person writes a poem because they have an inner urge of something that they want to express, and I think it's that inner urge that you want to express when you write a piece of music.
Leo Ornstein

Now, there are sometimes making a connection between one section and another that sometimes you do want to see the pattern because it helps you to lead into the next thing - it's a rhetorical thing, where you just see how the pattern has to go into the next thing.
Leo Ornstein

Now, what we are not talking about, what you're really coming to, is what compromises one makes so that the listener understands somewhat of what you're doing, what you're trying to express.
Leo Ornstein

Of all the arts, music is really the most abstract.
Leo Ornstein

The danger of that - and there's a grave danger that I, myself, have to be very aware of - is that you become so involved and intrigued in the language that sometimes you lose track that that is only a means to an aesthetic experience that the listener has to get.
Leo Ornstein

The difference between the student and the born composer is he really hears the thing, and they have to stage it and manipulate it by technical equipment.
Leo Ornstein