Eric Pazdziora

“The possibility of a musical modernity that was not characterized by sensationalism”
― Alain Frogley, The Cambridge Companion to Vaughan Williams

“Music was a kind of penetration. Perhaps absorption is a less freighted word. The penetration or absorption of everything into itself. I don't know if you have ever taken LSD, but when you do so the doors of perception, as Aldous Huxley, Jim Morrison and their adherents ceaselessly remind us, swing wide open. That is actually the sort of phrase, unless you are William Blake, that only makes sense when there is some LSD actually swimming about inside you. In the cold light of the cup of coffee and banana sandwich that are beside me now it appears to be nonsense, but I expect you to know what it is taken to mean. LSD reveals the whatness of things, their quiddity, their essence. The wateriness of water is suddenly revealed to you, the carpetness of carpets, the woodness of wood, the yellowness of yellow, the fingernailness of fingernails, the allness of all, the nothingness of all, the allness of nothing. For me music gives access to everyone of these essences, but at a fraction of the social or financial cost of a drug and without the need to cry 'Wow!' all the time, which is LSD's most distressing and least endearing side effects.
...Music in the precision of its form and the mathematical tyranny of its laws, escapes into an eternity of abstraction and an absurd sublime that is everywhere and nowhere at once. The grunt of rosin-rubbed catgut, the saliva-bubble blast of a brass tube, the sweaty-fingered squeak on a guitar fret, all that physicality, all that clumsy 'music making', all that grain of human performance...transcends itself at the moment of its happening, that moment when music actually becomes, as it makes the journey from the vibrating instrument, the vibrating hi-fi speaker, as it sends those vibrations across to the human tympanum and through to the inner ear and into the brain, where the mind is set to vibrate to frequencies of its own making.
The nothingness of music can be moulded by the mood of the listener into the most precise shapes or allowed to float as free as thought; music can follow the academic and theoretical pattern of its own modality or adhere to some narrative or dialectical programme imposed by a friend, a scholar or the composer himself. Music is everything and nothing. It is useless and no limit can be set to its use. Music takes me to places of illimitable sensual and insensate joy, accessing points of ecstasy that no angelic lover could ever locate, or plunging me into gibbering weeping hells of pain that no torturer could ever devise. Music makes me write this sort of maundering adolescent nonsense without embarrassment. Music is in fact the dog's bollocks. Nothing else comes close.”
― Stephen Fry, Moab Is My Washpot

“That a good man may have his back to the wall is no more than we knew already, but that God could have His back to the wall is a boast for all insurgents forever. Christianity is the only religion on earth that has felt that omnipotence made God incomplete. Christianity alone felt that God, to be wholly God, must have been a rebel as well as a king. Alone of all creeds, Christianity has added courage to the virtues of the Creator. For the only courage worth calling courage must necessarily mean that the soul passes a breaking point -- and does not break. In this indeed I approach a matter more dark and awful than it is easy to discuss; and I apologize in advance if any of my phrases fall wrong or seem irreverent touching a matter which the greatest saints and thinkers have justly feared to approach. But in the terrific tale of the Passion there is a distinct emotional suggestion that the author of all things (in some unthinkable way) went not only through agony, but through doubt. It is written, "Thou shalt not tempt the Lord thy God." No; but the Lord thy God may tempt Himself; and it seems as if this was what happened in Gethsemane. In a garden Satan tempted man: and in a garden God tempted God. He passed in some superhuman manner through our human horror of pessimism. When the world shook and the sun was wiped out of heaven, it was not at the crucifixion, but at the cry from the cross: the cry which confessed that God was forsaken of God. And now let the revolutionists choose a creed from all the creeds and a god from all the gods of the world, carefully weighing all the gods of inevitable recurrence and of unalterable power. They will not find another god who has himself been in revolt. Nay (the matter grows too difficult for human speech), but let the atheists themselves choose a god. They will find only one divinity who ever uttered their isolation; only one religion in which God seemed for an instant to be an atheist.”
― G. K. Chesterton, Orthodoxy