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

-Leo Ornstein
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
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

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
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

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
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

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
Improvisation is terribly haphazard. Leo Ornstei
Leo Ornstein

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.