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"I don't hate work, composing is not work for me, it's my pleasure; it's my life. So why should I stop? If something is pleasurable and exciting and rewarding, why should one stop?"
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"We try, when we wake, to lay the new day at God's feet; before we have finished shaving, it becomes our day and God's share in it is felt as a tribute which we must pay out of 'our own' pocket, a deduction from the time which ought, we feel, to be 'our own'. A man starts a new job with a sense of vocation and, perhaps, for the first week still keeps the discharge of the vocation as his end, taking the pleasures and pains from God's hand, as they came, as 'accidents'. But in the second week he is beginning to 'know the ropes': by the third, he has quarried out of the total job his own plan for himself within that job, and when he can pursue this he feels that he is getting no more than his rights, and when he cannot, that he is being interfered."
"The Lord had given them the day and the Lord had given them the strength. And the day and the strength had been dedicated to labor, and the labor was its reward. Who was the labor for? What would be its fruits? These were irrelevant and idle questions."
"If I went to work in a factory the first thing I'd do is join a union."
"Employment stereotypes you."
"The work I did in Vertigo meant nothing if no one cared about the movie. Luckily, Vertigo had a revival and people had begun to recognize there was something special and it gained in reputation. But it just as well could have ended up rotting in film cans somewhere."
Explore more quotes by Gunther Schuller
"And it is this sense that some of us have to contribute to the culture, to the society in ways that may hurt financially, so what? We do it because we are born to do it, we feel we have no other choice and so be it."
"After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz."
"That was more or less coincidental in the sense that my parents wanted me to come back to New York because that's the center of musical activity still to this day, more or less, and so I auditioned for the Metropolitan Opera."
"The record company started as an adjunct to that, to give young composers their first recorded performances; to give young musicians their first debut on a recording. These are all things that big record companies would never touch because there is no money in it!"
"But somehow, I felt no inclination to be interested in it in any amateur way, let alone professional, until suddenly I became interested. And the first thing I did was to compose: not play an instrument, but to compose."
"You know, I'm not gonna take my money with me to heaven or hell, wherever I'm going. So I want to do something good with it even though my means are very limited. I'm no millionaire!"
"Because I have sixty years of being a professional composer, conductor, musician, whatever, and you develop a lot of friendships and you get involved with a lot of sort of long-term commitments and obligations."
"So now, thirty years, forty years later, I mean, I could find a whole orchestra of a thousand to put these things together in New York City alone. In those days, if I could scrape up twenty musicians to do this it was something extraordinary."
"So this anchoring in some way, in some important way in the past without repeating the past, but on the basis of the past building something new: that is what is important."
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