Adagietto Mahler Quotes & Sayings

What I do quite honestly and seriously and not in any way being humble is not as important as what the garbage collector does. People make actors important. — James Caan

An artist must approach his work in the spirit of the criminal about to commit a crime. — Edgar Degas

A colossal event is upon us, the birth of a New World Order. — Brent Scowcroft

It looks like a typical voodoo sacrifice. (Fang)
Well, slap my ass and call me Sally if you're not bright. (Thorn) — Sherrilyn Kenyon

To feel sorry for the needy is not the mark of a Christian - to help them is. — Frank A. Clark

Britten's opera tends to see things in simpler terms. It portrays an Aschenbach who wants a richer form of sexual fulfillment, and who is hemmed in by the social conventions to which he subscribes. But Visconti's use of the Mahler Adagietto is perfect for what I take to be Aschenbach's sexual desire. — Philip Kitcher

As a child, William Beebe was my hero, and I used to read about him going down in the bathysphere, and I wanted to do that too. And I told my family, I said, 'I'd like to go down and be like William Beebe,' and they said, 'Well, maybe you can take up typing and get to be the secretary of William Beebe or somebody like him.' — Eugenie Clark

Nothing is so hard that it can't be found by searching.
— Kim Harrison

One must never place a loaded rifle on the stage if it isn't going to go off. It's wrong to make promises you don't mean to keep. — Anton Chekhov

Gardening is one of the rewards of middle age, when one is ready for an impersonal passion, a passion that demands patience, acute awareness of a world outside oneself, and the power to keep on growing through all the times of drought, through the cold snows, towards those moments of pure joy when all failures are forgotten and the plum tree flowers. — May Sarton

I guess everybody saw it. It's a deal where I'd been racing cars a long time and I knew going around the track the fender was on the tire hard. — Sterling Marlin

As the young husband and wife lay in each other's arms, each contemplating past, present, and future, Clint recognized the music as the adagietto from Gustav Mahler's fifth symphony. It was one of the most famous movements in the entire symphonic repertoire, but it was also one of the most debated. Mahler ostensibly composed the adagietto as a love song to his wife, Alma, but when played at the much slower tempo preferred by many conductors, the music instead evokes a feeling of profound melancholy. After almost eighty years, musicologists and aficionados still couldn't agree whether the music was supposed to be happy or sad, whether it was an expression of intense love and devotion or of unmitigated despair. Clint was struck by the irony that this music would be playing at this moment in his life, and his mouth curled into an ambivalent smile. Was he happy? Was he sad? Would he ever again be certain? — William T. Prince

The happiness was there, ordinary equipment, stowed right alongside the worry and sorrow and resolve, and it didn't solve anything, but it lightened it. "Ready? — Laini Taylor

We do not stray out of all words into the ever silent;
We do not raise our hands to the void for things beyond hope. — Rabindranath Tagore

Using the Adagietto of Mahler's Fifth is one of the touches of pure genius in Visconti's film (even though Mahlerians complain very loudly that the piece has been ruined), since it corresponds perfectly to Aschenbach's yearnings and to his circling walks around Venice. — Philip Kitcher