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“(…) the more absurd, the more indefensible, the more it makes sense. Operas that are worthy about something, some idea or ideal, and that try to make a point, especially a political point, are just absurd in an off-putting way. Operas should instead be absurd in a way that is truer than reality. But that's just the most absurd form of something that is absurd from the start: music. Music should have no excuse, other than itself. Music is its own excuse.” Thomas Adès

“That's really what one is dealing with all the time, magnetism: understanding the magnetic pull of the notes put in a given disposition, their shifting relative weights. I don't believe at all in the official distinction between tonal and atonal music. I think the only way to understand these things is that they are the result of magnetic forces within the notes, which create a magnetic tension, an attraction or repulsion. The two notes in an interval, or any number of chords, have a magnetic relationship of attraction or repulsion, which creates movement in one direction or another. A composer, whether of a symphony or a pop song, is arranging these magnetic objects in a certain disposition. That means that sometimes, in order to understand the weight of one note and the next note to it, you might have to transfer meaning from one to another. In Polaris, I had to transfer meaning from the C sharp to the A in order to do that. And it was difficult in some ways, because to really discover what the notes want to do, you might have to go against what they at first appear to want to do, and then they start to resist and you have to use other magnets to see what they are really feeling.”   Thomas Adès ( Interview - Guardian - 28. September 2012)