In a sense great music exists for the sake of its pauses; for instance, the pauses that occur in the middle of a Beethoven symphony. These pauses are of course quite unlike bits of ordinary silence, because the whole symphony has led up to them — they are held and defined, and the music goes on the other side of them. Such pauses are silence charged with meaning. Music transcends music by producing charged silence.
In THE SNOW LEOPARD, Peter Matthiesen describes his son, Alex:
In his first summers, forsaking all his toys, my son would stand rapt for near an hour in his sandbox in the orchard, as doves and redwings came and went on the warm wind, the leaves dancing, the clouds flying, birdsong and sweet smell of privet and rose. The child was not observing; he was at rest in the very center of the universe, a part of things, unaware of endings and beginnings, still in unison with the primordial nature of creation, letting all light and phenomena pour through.
