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There are many different styles of composition. I characterize them always as Mozart versus Beethoven. When Mozart began to write at that time he had the composition ready in his mind. He wrote the manuscript and it was 'aus einem Guss' (casted as one). And it was also written very beautiful. Beethoven was an indecisive and a tinkerer and wrote down before he had the composition ready and plastered parts over to change them. There was a certain place where he plastered over nine times and one did remove that carefully to see what happened and it turned out the last version was the same as the first one.
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Dijkstra (2001) Source: Denken als discipline, a program from Dutch public TV broadcaster VPRO from April 10th, 2001 about Dijkstra, with many references, among other things Video (Broadband), Video, Transcript

 

Edsger W. Dijkstra

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There is an impelling proportion of tones that may lead me to change the shape of a figure or to transform my composition. Until I have achieved this proportion in all the parts of a composition I strive towards it and keep on working. Then a moment comes when all the parts have found their definite relationships, and from then on it would be impossible for me to add a stroke to my picture without having to repaint it entirely.

 

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An unjust composition never fails to contain error and falsehood. Therefore an unjust connection of ideas is not derived from nature, but from the imperfect composition of man. Misconnection of ideas is the same as misjudging, and has no positive existence, being merely a creature of the imagination; but nature and truth are real and uniform; and the rational mind by reasoning, discerns the uniformity, and is thereby enabled to make a just composition of ideas, which will stand the test of truth. But the fantastical illuminations of the credulous and superstitious part of mankind, proceed from weakness, and as far as they take place in the world subvert the religion of REASON, NATURE and TRUTH.

 

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There is a consoling mythology, constantly being added to, which would have us believe that genius operates beyond donkey work. Thus we are told reassuringly that Einstein was no better at arithmetic than we are; that Mozart gaily broke the rules of composition while jotting down a stream of black dots without even looking; and that Shakespeare didn't care about grammar. Superficially, there are facts to lend substance to these illusions. But illusions they remain. There is always some autistic child in India who can speak in prime numbers, but that doesn't mean Einstein couldn't add up; Mozart would not have been able to break the rules in an interesting way unless he was able to keep them if required; and Shakespeare, far from being careless about grammar, could depart from it in any direction only because he had first mastered it as a structure.

 

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