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Quote by Winston Churchill

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Closing the Ring

This book explores the emotional and psychological journey of individuals seeking to come to terms with past events and achieve a sense of peace. more

Author

Winston Churchill
Winston Churchill

Winston Churchill, a former Prime Minister of the United Kingdom, was a statesman, historian, writer, and orator. He led the British people in resisting Nazi Germany during World War II and became a national hero. Churchill is renowned for his unique oratory style and steadfast political stance. more

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“Before I got to Juilliard I remember that I had learned the first few bars to all the Sachse etudes in several different keys because I knew what was coming. So in the first year he was throwing these Sachse etudes at me and I would knock off the first eight bars and fly right through it. He would say, 'Alright, that's good enough.' But, in my third year, he said 'Get out the Sachse book.' I couldn't understand why. So I pull it out and he said, 'Here, start in the middle.' I was in trouble! He said, 'Hey Balm, I took you for a guy who knows how to transpose-you're nothing but a bugler!'”

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“He wanted us to play whatever we played in the most characteristic and appropriate style. Even it was the theme from 'The Godfather,' you needed to play that then the way that a Hollywood producer would expect it to be played. Whether it was that or the posthorn solo from Mahler's Symphony No. 3, he would expect that to be played in the way that Leonard Bernstein wanted to hear it. In retrospect, I think it was a sensational way to teach this particular group of students. By the time you graduated you could absolutely read anything with any trumpet.”

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“His lessons were chock-full of analogies for a variety of musical situations. Those little things were my favorites. 'No . . . that's too much vibrato. It's like putting bright red lipstick on a beautiful woman.' I always thought it was funny that when you broke a musical rule-like accenting a weak beat-he would turn his head away from you sharply, almost as though he were in pain. It's like you just slapped him in the face by being unmusical.”

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“There is a form of poetic and esthetic and moral genius necessary to make philosophical issues truly incandesce for students, and even though I indeed had some world-class professors myself when I went through the curriculum, I rarely saw such gnosic or concretist/poetic passion among them. I am not speaking of broad histrionics or melodramatic delivery, but rather a moral investment of concern, of loving delight and pathos in exposing one's consciousness to the full horrific and magnificent implications of the materials.”

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