When I was in Paris, all of the German refugees began to flow in and it was a very sad time.

Yes, I get a report from BMI about the frequency of performances, and it is very surprising. They played one of my most advanced pieces, and one of my most unusual ones on the radio.

Since I'm allergic to various things, the army wouldn't accept me during the war, and I got into the Office of War Information, which sent music to Europe.

My entire life has really revolved around music that was written about the time that I was born, 1908, to just before the First World War and shortly after it. This music I've always known, and it is that music that's most important to me.

Silences between movements are employed only in order to bring the opposing duo to the fore.

Right at the end of the war I wrote a piano sonata, which was written at a time when Sam Barber used to come down here and we used to have lunch together in a very nice old hotel that's now not there.

That was one of the big problems when I was at Harvard studying music. We had to write choral pieces in the style of Brahms or Mendelssohn, which was distressing because in the end you realized how good Brahms is, and how bad you are.

Almost every one of my various zero numbered birthdays has had a big concert in London and often in Paris.

I've known those pieces ever since I was about 16 or 17; I also at that time was taken to meet Charles Ives whom I got to know fairly well. He was the one who wrote a recommendation for me to get into college.

It was only later on that I became more interested in older music.

When I was in Paris, all of the German refugees began to flow in and it was a very sad time.

Talking about a materialistic thing, I get about 13 times more royalties from Europe than I do from America.

These wealthy people were very interested in contemporary music. They wanted to help diffuse it and get it to be known to other people.

The Quartets have been a major part of my work.

I mean the public likes it more in Europe than they do here because the state supported organizations have felt that playing contemporary music was part of the education of the public.

Then, when the Depression came, all of this changed completely. Since that time, the entire public is of a very different sort and there was not so much support for contemporary music in a direct way.

Well I tried to, but I could never write anything that I liked or was worthwhile. I threw it all out and realized that I had to make a serious study- that my tastes were far more advanced than my abilities.

In any case, Ives encouraged me to go into music even though he himself had such a hard time being a composer.

An auditory scenario for the players to act out with their instruments.

Why write for the orchestra? For one thing it's a very challenging problem.

Aaron Copland was a man that had a very specific point of view about what music should be which was that, he felt that new music should have the composer should show a personality in his music.

Well when I was young, when I was very young, when I was a little boy I don't remember the music I heard, but there was an article in the Brooklyn Daily written by my Aunt about how I could choose phonograph records.

The Third Quartet I made the instruments in pairs - Two different pairs - Violin and viola, and violin and cello. They played very different things from each other all through the whole piece.

When I look back now, it must have been like Paris was at the time of Le Sacre du Printemps.

At home in Paris I take a milk bath two times a week, but here on the road it is more difficult. I miss them.

One of the special characteristics of New York is that it is different from a London or a Paris because it's the financial capital, and the cultural capital, but not the political capital.

You have people who can't act and they get all these parts. Paris Hilton falls into her own category. She's made a career out of it.

If you want to establish an international presence you can't do so from New York. You need the consecration of Paris.

I made the decision to come back to New York, quit my job and move to Paris.

The colors I choose there was to paint the first hotel, the Disneyland Hotel. Because of the cloudy sky we had in Paris, it had to be a particular kind of color who will fight those grey days. And also something you can see when you're driving up 'There it is! We're arriving!'

When Paris has to pee, Paris has to pee!

Good talkers are only found in Paris.

I stayed three weeks in Paris, fell in love with the city, and decided that I was born to live in Paris.

I was in Paris at an English-language bookstore. I picked up a volume of Dickinson's poetry. I came back to my hotel, read 2,000 of her poems and immediately began composing in my head. I wrote down the melodies even before I got to a piano.

I was backstage in Paris and saw Cindy Crawford doing House Of Style. I thought, I would love to to be in control of my career.

The audience that surprised us the most was definitely Paris, when we played there last. They were just incredibly into us and we weren't expecting it at all.

When I was at school at Paris, I had special lessons from Mademoiselle Antoine, an actress at the Comedie Francaise, and I was taken to every sort of play. I felt very grand.

I've never seen the Osbournes, I've never seen Paris Hilton. I'd rather read than watch reality TV. I'd rather live life than watch somebody else living it.

Well, let's say we acknowledged the School of French Painting - the Paris School of painting as the leading force and vitality of the time. I think that was understood and felt and experienced.

It was so quiet that morning in Paris that the heels of my two companions and myself were loud on the deserted pavements. It was a city of shuttered shops, and barred windows, and deserted avenues.

I will always remember this summer day in Paris, when I was to perform a great acrobatic move. I can still see myself stepping on the ring of a packed circus along real performers.

I've been to Paris France and I've been to Paris Paramount. Paris Paramount is better.

We had maybe the greatest success of any company that I know of in Paris, and after two or three years I wanted to do this same number that we did for PBS, so we did it and Paris had always considered us their darlings.

Whoever would have guessed that in the land of cheap sausages and mashed potatoes there could be such a change which would actually bring the French from Paris every weekend to invade Britain en masse to eat great food and drink great wine.

America is a nation with no truly national city, no Paris, no Rome, no London, no city which is at once the social center, the political capital, and the financial hub.

If I look at it, it's about being able to get lost in New York, to explore the city, to have more personal stories about New York, although some could also take place in Paris.

The moon is essentially gray, no color. It looks like plaster of Paris, like dirty beach sand with lots of footprints in it.

The dark outside world of Paris under German occupation exerted a strong containing pressure.

So I left with Jean Claude and went to Paris, so when the Russians came to Prague, I was in Paris.