Meaning: This quote by Leo Ornstein, a prominent composer in the early 20th century, delves into the distinction between a student composer and a born composer. Ornstein highlights the innate ability of a born composer to hear the musical creation in their mind, while the student composer may need to rely on technical equipment to stage and manipulate the music. This quote sheds light on the creative process of composition and the role of innate talent versus learned skill in the world of music.

Leo Ornstein was a Russian-born American composer and pianist known for his avant-garde compositions and innovative approach to music. He was a prominent figure in the early 20th-century music scene, and his reflections on the art of composition carry weight and insight into the creative process.

In this quote, Ornstein draws a clear distinction between the student composer and the born composer. The born composer, according to Ornstein, possesses a unique ability to truly "hear" the music they intend to create. This suggests an intuitive and almost instinctual relationship with musical ideas, where the composition seems to flow naturally from within. In contrast, the student composer may need to rely on technical equipment to stage and manipulate the music. This implies a more deliberate and possibly laborious process of crafting and refining musical ideas using external tools and techniques.

Ornstein's words prompt contemplation on the nature of creativity and the role of natural talent in the artistic process. The idea of "hearing" the music as opposed to having to stage and manipulate it by technical means speaks to the concept of artistic intuition and creative vision. It suggests that for the born composer, the music exists within them, waiting to be brought to life, while for the student composer, the process may involve more conscious construction and refinement.

This quote also raises questions about the relationship between creativity and technical skill in the realm of music composition. While Ornstein emphasizes the innate ability of the born composer to hear the music, he doesn't discount the importance of technical equipment and manipulation in the creative process. This acknowledgment of the role of technical tools suggests that even for the most gifted composers, there may be a need for external means to fully realize their musical ideas.

Moreover, Ornstein's quote invites consideration of the broader implications for creativity across different artistic disciplines. The idea of "hearing the thing" may resonate with painters who envision their compositions before applying brush to canvas, or writers who have a story unfolding in their minds before they put pen to paper. The notion of innate vision and creativity transcends the realm of music and speaks to the universal experience of artistic inspiration and expression.

In conclusion, Leo Ornstein's quote provides valuable insight into the nature of musical composition and the distinction between the born composer and the student composer. It prompts contemplation on the interplay between innate creativity and technical skill, and the role of intuition in the artistic process. Ornstein's words remind us of the diverse pathways to musical creation and the unique blend of inspiration and craftsmanship that defines the art of composition.