Carlisle Floyd Quotations

I've never set out consciously to write American music. I don't know what that would be unless the obvious Appalachian folk references.

Our most intimate contact with civilizations long since dust has been through the art which has survived them.

Anyone who creates something new or does something different artistically is going to be singled out.

I think anything that is expressed directly and as honestly as possible will last.

We think the Puritans always dressed in black and white, which they didn't. They loved very bright colors. And there were other differences in perceptions that gave one a very different view of them.

I find it enormously valuable to be sure that that the pacing is what I think it is and that the scenes have the shape I think they have musically and dramatically.

The story of Willie Stark fascinated me because it was tackling the story of a man who outwardly has all the success one could possibly want and who is destroyed by his personal demons.

People in very high places suddenly fall, and we are always surprised because we don't factor in the basic element that they're humans and, therefore, they are flawed and have weaknesses.

The artist is something of an outsider in America. I have always felt that America does not value its artists, certainly not in the sense that the Europeans do.

I was encouraged by my mother and, to a lesser extent, by my father.

Socially I never was an outsider. I have never thought of the conflict element before frankly, but perhaps it was wanting to belong, and at the same time wanting to retain one's own personality.

Like any other composer of opera, I choose a subject not for polemical reasons, but because it contains vivid characters in highly charged dramatic situations.

There's the Bacon society, which is fostered by his fourth wife Helen Bacon, but I don't know what kind of performances his music gets. He wrote symphonic music and some chorale music.

What is American music? The most satisfying answer I've come across is that it was a kind of natural comfort with the vernacular which is diverse and regional; it's not one particular set of sounds.

It's necessary to track characters all the way through an opera. If you're dealing with more than one or two characters, it's very easy to forget that the others have lives of their own that feed into the story.

The performances of my works in the last 10 years are probably equal to all the previous years put together. There are so many venues now and there is a completely new public for opera that's grown up outside of the traditional core opera public.

You can't possibly predict what will last or not. But once you attempt to write for the ages, you're doomed.

America tends to worship the modest talent because it doesn't put us in an uncomfortable position vis-a-vis the artist.

I found a certain kind of music congenial to me; it never occurred to me to write music that was academically acceptable.

If I felt that one of my operas did not come off I would certainly say so.

It seems to me opera is just as relevant as an expressive art as anything else.

Most of the important composers in our country are clustered in the Northeast.

Opera is given so little attention in the national press.

When I've seen my operas in Europe, they have always struck me as more American than when I hear them here. I can't tell you what that phenomenon is.

I had all the normal interests - I played basketball and I headed the school paper. But I also developed very early a great love for music and literature and the theater.

It's amazing how fast generations lose sight of other generations. One of the first things the young composers who come to work with me say is that they want to write music people will like, instead of gaining their credentials by being rejected by the audience.

I was interested in what was really going on in Salem at that time, and I resolved to investigate this seemingly unorthodox treatment of the people and the period.

I was choosing a subject matter that tries to depict the period more accurately, rather than the history-book version we have come to believe.

We don't have access to a national forum that we had in those days, through the news magazines which were the television news of the time. It's very disturbing to me that we've sort of been pushed to the corners.

I tried to use the voice so it was not strictly recitative or singing or spoken word. I tried a great deal of speaking on pitch and in rhythm.

It's very easy to distance yourself from period pieces because either through costuming or whatever, they don't seem to be as much of our time.

I had all the normal interests-I played basketball and I headed the school paper. But I also developed very early a great love for music and literature and the theater.

If you are surrounded by colleagues you trust, and if you can use their comments and responses creatively, I think it's tremendous.

I don't know how any of my operas will play in 20 years. It will have a lot to do with the fashions of the time and what people respond to.

I was trying to do something that seemed very natural and easy but which bridged that gulf between the singing voice and the speaking voice.

If something is successful with the audience, it's automatically suspect; the reverse is to say that not to reach audiences is the greatest compliment an artist can receive!

There is something inherent in our democracy that tends to want to level. America is a little uncomfortable in the presence of someone who is distinctly superior in whatever way.

If an American audience is given a serious musical theater piece that is well produced, dramatically gripping and wonderfully acted, they'll respond to it.