from Concertos and Choral Works, by Sir Donald Francis Tovey, pp. 351-2:
From one moment to the next [Haydn] is always unexpected, and it is only at the end that we discover how perfect are his proportions. With Mozart, the expectation of symmetry is present all the time, and its realization is delayed no longer than serves the purposes of wit rather than humour. Both composers are so great that in the last resort we shall find Mozart as free as Haydn and Haydn as perfect in form as Mozart; but the fact remains that Haydn’s forms display their freedom before their symmetry, while Mozart’s immediately display their symmetry, and reveal their freedom only to intimate knowledge.
from The Smithsonian Collection of Classic Jazz, liner notes by Martin Williams, p. 20:
In such performances [i.e. Blue Light, Subtle Lament, Ko-Ko, Rumpus in Richmond, Harlem Air Shaft, Concerto for Cootie, Sepia Panorama, Blue Serge], Ellington rediscovered in far more sophisticated terms what Morton had found in his own idiom: the perfect balance between what is written ahead of time and what can be ad-libbed in performance, what is up to the individual and what the ensemble contributes, what makes and effective part and what makes a continuous, encompassing, subsuming whole.
from The Wellsprings of Music, Curt Sachs, p. 111:
Rhythm and form are the two organizing powers of melody. In recurrent patterns they damn and divide its flow; they control its tension and relaxation; they balance its law and its freedom.
from An ABC of Music, by Imogen Holst, pp. 31-2:
Music consists of silences as well as sounds…. Rests are just as important as notes. Their silences are never static. They belong to the rhythm of the tune, and the continuous pulse of the music can be felt through them.