next to worthless (phr) nickname (n) no mean achievement (phr) no trace of (idm) nocturnal (adj) nod off (phr v) nomadic (adj) notably (adv) notion (n) nourishing (adj) novel (adj) novelty (n) nursery rhyme (n) object (v) obsession (n) occur (v) occur (v) odd (adj) odour (n) odyssey (n) offend (v) offended (adj) official (n) olive (n) on all fours (phr) on balance (phr) on duty (phr) on the cards (idm) on the contrary (phr) on the spur of the moment (idm) on top of the world (phr) ongoing (adj) onlooker (n) open-minded (adj) open-plan (adj) 19 opponent (n) oppose (v) optimistic (adj) option (n) originality (n) ornament (n) orphanage (n) otherwise (adv) out of (phr) outcry (n) outrun (v) outweigh (v) overall (adj) overcharge (v) over-commit (v) overcrowded (adj) overestimate (v) overhear (v) overshadow (v) overtake (v) overthrow (v) overwhelming (adj) own up (phr v) ownership (n) oyster (n) pack (n) pad (n) paella (n) palm (n) pan (n) panic (v) paprika (n)
When you add a goal to the enjoyment of what you do, the energy-field or vibrational frequency changes. A certain degree of what we might call structural tension is now added to enjoyment, and so it turns into enthusiasm. At the height of creative activity fueled by enthusiasm, there will be enormous intensity and energy behind what you do. You will feel like an arrow hat is moving toward the target – and enjoying the journey. To an onlooker, it may appear that you are under stress, but the intensity of enthusiasm has nothing to do with stress. When you want to arrive at your goal more than you want to be doing what you are doing, you become stressed. The balance between enjoyment and structural tension is lost, and the latter has won. When there is stress, it is usually a sign that the ego has returned , and you are cutting yourself off form the creative power of the universe
different value, but always in accordance with the composer’s intentions. Optimism, hindered worry and trouble, does not take the upper hand any more. The Eighth Symphony (1966)3 is not very different in its general conception. It is another drama of time and man, conveying depression and even despair. There are almost no serene moments and no themes of national colouring in its precise sense. It is characteristic that the author fights no more, does not resist. He is an onlooker, 1 Stockholms Tidningen 7 Nov. 1956. 2 First performed in the Gävle Town Theatre, 1 Mar. 1959, conductor Gunnar Staern. 3 First performed in the Estonia Concert Hall, 24 Febr. 1967, conductor Neeme Järvi . observing from aside the suffering. His generalisations are expressionistic. Considering Tubin’s past and present, this was wholly understandable. What had happened? Tubin commented himself:
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