Pianists From Germany

"The things that are most important to me in such a project are perfectionism and truth. Truth of interpretation, truth of sound, truth of the instrument, truth of the hall, truth lastly of all. This means ‘Artistic Integrity’ to me."

"This is an absolute deep contrast to Chopin, who found himself favoring a classical form of musical essence. He needs to bring nothing in from outside, the music is nearly ‘absolute.’"

"To approach Chopin, you have to separate him completely from Schumann. Schumann admired Chopin very much and saw him as friend, but - what only few people know - Chopin himself had much less interest in and esteem for Schumann. In detail: Schumann’s works follow on from a transitional period determined by the successors of Viennese Classicism, particularly Beethoven. Just as the sons of Bach espoused the ‘galant,’ ornamented style of their generation, so the pupils of Mozart and Beethoven - Hummel, Ries, Czerny, Moscheles - took pains to compensate for a thinner musical substance with increased instrumental brilliance and thus prepared the ground for the golden age of the piano and the era of the Romantic virtuoso. Among the multitude of composers writing for the piano at that time, only two - Weber and Schubert - stand out as original creative forces."

"Schumann’s Kreisleriana: No other cycle among Schumann’s great works so perfectly expresses the sensation of dark nocturnal things, of chaos, lurking in the background. The last piece of this collection shows this particularly well. Like skeletons on horseback, shadowy figures flit before us in a soft, sustained rhythm; in the middle section horn-calls enliven the scene with visions of knightly strength and nobility, but at the end the figures vanish ghost - like into night and mystery. Looking into the first volume of Schumann’s diaries we find ‘Midnight Piece,’ a prose passage which provides moving, indeed alarming evidence of his perilously depressive mental state. It contains elements of a highly personal kind which memorably convey the particular quality of his imagination, mortally cold and never far from visions of death. It could have served perfectly as a model for the final, disturbing piece in the Kreisleriana set."

"The Goldberg Variations have always enjoyed a special status, with pianists regarding them as a touchstone of their technical and interpretative powers. At stake are the ability to light up the work from within, a tightrope walk that at the same time describes a vast circle, starting out and returning to a state of apotheotic stillness, the ability to find one’s bearings within a particular concentration of inner and outer complexity, an inner and outer coherence and homogeneity that are all-embracing, the ability, finally, to produce an explosion of inner cells by reduced means and, hence, a particular sensitivity, sinewy tension, and color. The performer must play a game with particular devices, finding solutions to the problems posed by the work not in octave doublings and other playful expedients but in a tightly structured inner rigor and order. What is demanded is a particular form of internalization, of inner and outer lyricism. It is this that makes the Goldberg Variations so unique - and so demanding."

"Chopin’s biography remains obscure. He withheld himself all his life, in diametrical contrast to the openness and accessibility of his contemporary Franz Liszt. Chopin always conveyed the impression of a suffering soul, not to say a martyr, almost as if this was to nourish or even underpin his inspiration. Striving for crystalline perfection, he never ventured outside his own domain. You know, the Danish philosopher Søren Kierkegaard is said to have given, as a child, “martyr” as his chosen career. Chopin must have shared this cult of the ‘Pater dolorosus.’"

"Herz, Thalberg, Heller, Felicien David and others were great virtuosos of their time, more famous than Chopin himself. They had their own personal styles, but the essence of their music was time-bound, nothing that could occupy generations after them. Chopin, in contrast, was someone special, someone who was completely different from all other artists, composers, and pianists. So too with his style. As a result, the aesthetic in approaching Chopin is distinctive: interpreting his music is the most difficult of all. For me personally, it’s the crowning of playing piano. Bach, Mozart, Chopin: these are the three who definitely created musical art in an all-embracing and overwhelming way."

"The trends that produced Schumann’s early piano works started out not so much from Weber’s refined brilliance as from Schubert’s more intimate and deeply soul-searching idiom. His creative imagination took him well beyond the harmonic sequences known until his time. He looked at the fugues and canons of earlier composers and discovered in them a Romantic principle. In the interweaving of the voices, the essence of counterpoint found its parallel in the mysterious relationships between the human psyche and exterior phenomena, which Schumann felt impelled to express. Schubert’s broad melodic lyricism has often been contrasted with Schumann’s terse, often quickly repeated motifs, and by comparison Schumann is often erroneously seen as short-winded. Yet it is precisely with these short melodic formulae that he shone his searchlight into the previously unplumbed depths of the human psyche. With them, in a complex canonic web, he wove a dense tissue of sound capable of taking in and reflecting back all the poetical character present. His actual melodies rarely have an arioso form; his harmonic system combines subtle chromatic progressions, suspensions, a rapid alternation of minor and major, and point d’orgue. The shape of Schumann’s scores is characterized by contrapuntal lines, and can at first seem opaque or confused. His music is frequently marked by martial dotted rhythms or dance-like triple time signatures. He loves to veil accented beats of the bar by teasingly intertwining two simultaneous voices in independent motion. This highly inde-pendent instrumental style is perfectly attuned to his own particular compositional idiom. After a period in which the piano had indulged in sensuous beauty of sound and brilliant coloration, in Schumann it again became a tool for conveying poetic monologues in musical terms."

"Such abstruse ideas are totally alien to Chopin. The Romantic interweaving of music and literature that was characteristic of Schumann and Liszt was a negligible source of inspiration. Schumann dedicated Kreisleriana to Chopin, but in fact Chopin’s consciousness for classical strength and form had nothing in common with the exalted, torn, eccentric and confused character of the work."

"Already at the age of 21 I played the complete organ works of Bach - and this by memory. As a child and youngster I had been taught by one of the last master-students of the legendary Helmut Walcha, and I completely had been affected by this style of insight into Bach and the internal structures. This method of regarding the independent coherence of all the voices gave me a special comprehension of Bach and his philosophy. Lastly one can say that I have been growing up with Bach, even to this day. If you understand the free organ works (preludes, toccatas, fugues), the chorales, and especially the trio sonatas, you have an insight into Bach that others don’t have. Especially the soloistic and independent leadings of the three voices of the trio sonatas is artistically the major aim of an organist; and already the Orgelbüchlein, the part 5 of the Peters Edition, shows Bach in all his structural and emotional effects. Albert Schweitzer described the Orgelbüchlein as something where the tonal speech of Bach is unbeatable. The comprehension of the organ-Bach is an understanding of the counterpoint and the polyphonic structures, and the coherence of Bach himself."

"Undoubtedly the best language for the expression of this ‘unfathomable’ quality was music. The infinity of musical spheres of expression, independent of rationality, is often perceived as ‘unfathomable’ by listeners too. The formal principles of order seem to lie hidden deeper in this art than in others. In the twentieth century the great creative minds, when faced with Romantic artistic urges running riot which they believe must be overcome, or feel they have succeeded in overcoming, have stressed the importance of existing rules; they have followed traditional forms, or else, in their search for new ways to connect, have found and set up new formula-tions and principles. The young Schumann’s creative path led in the opposite direction, from classical forms, however deeply revered, to the freedom of subjective self-expression."

"Yet in a relatively short creative life of twenty years or so, Chopin redrew the boundaries of Romantic music, and his self-imposed restriction to the 88 keys of the piano keyboard sublimated nothing less than the aesthetic essence of piano music. It was his total identification with the instrument which, in its radical regeneration of the lyric and the dramatic, fantasy and passion and their unique fusion, shaped a tonal language which united an aristocratic sense of style and formal Classical training and intuition with an ascetic rigor. Chopin’s precisely marshaled trains of thought permitted no experiments, and so he did not ‘wander about’ within his stylistic points of reference as Scriabin was to do. Chopin’s works may seem light and improvisatory, but they are planned in meticulous details, exactly and well calculated."

"This Reger is a sarcastic, churlish fellow, bitter and pedantic and rude. He is a sort of musical Cyclops, a strong, ugly creature bulging with knotty and unshapely muscles, an ogre of composition. In listening to these works...one is perforce reminded of the photograph of Reger which his publishers place on the cover of their catalogue of his works, the photograph that shows something that is like a swollen, myopic beetle with thick lips and sullen expression, crouching on an organ bench."

"Applying here Brahms' contributions to an unrestricted musical language will enable the opera composer to overcome the metrical handicaps of his libretto's prose; the production of melodies and other structural elements will not depend on the versification, on the meter, or on the absence of possibilities for repetitions. There will be no expansion necessary for mere formal reasons and changes of mood or character will not endanger the organization. The singer will be granted the opportunity to sing and to be heard; he will not be forced to recite on a single note, but will be offered melodic lines of interest; in a word, he will not be merely the one who pronounces the words in order to make the action understandable. He will be a singing instrument of the performance. It seems-if this is not wishful thinking-that some progress has already been made in this direction, some progress in the direction toward an unrestricted musical language which was inaugurated by Brahms the Progressive."

"On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind."

"There is so much that is true in your letter — if not all— and I must confess that with remorse and regret; but with pleasure and satisfaction I realise how kind it is — only an angel like you could have written so kindly... Life is a wild polyphony, but often a good woman like you can bring about some exquisite resolution of its discords."

"If there is any one here tonight whom I have not offended, I apologize!"

"One of the giants of classical music, Johannes Brahms appeared to arrive fully armed, found a style in which he was comfortable – traditional structures and tonality in the German idiom – and stuck to it throughout his life. He was no innovator, preferring the logic of the symphony, sonata, fugue and variation forms."

"He came as a true friend, to share with me all my sorrow; he strengthened my heart as it was about to break, he lifted my thoughts, lightened, when it was possible, my spirits. In short, he was my friend in the fullest sense of the word. I can truly say, my children, that I have never loved a friend as I loved him; it is the most beautiful mutual understanding of two souls. I do not love him for his youthfulness, nor probably for any reason of flattered vanity. It is rather his elasticity of spirit, his fine gifted nature, his noble heart that I love... Joachim, too, as you know, was a true friend to me, but... it was really Johannes who bore me up... Believe all that I, your mother, have told you, and do not heed those small and envious souls who make light of my love and friendship, trying to bring up for question our beautiful relationship, which they neither fully understand nor ever could."

"I played over the music of that scoundrel Brahms. What a giftless bastard! It annoys me that this self-inflated mediocrity is hailed as a genius."

"It always saddens me to think that after all I am not yet a proper musician; but I have more aptitude for the calling than probably many of the younger generation have as a rule. It gets knocked out of you. Boys should be allowed to indulge themselves in jolly music; the serious kind comes of its own accord, although the lovesick does not. How lucky is the man who, like Mozart and others, goes to the tavern of an evening and writes some fresh music. For he lives while he is creating."

"I wish I could write to you as tenderly as I love you and tell you all the good things that I wish you. You are so infinitely dear to me, dearer than I can say... If things go on much longer as they are at present I shall have sometime to put you under glass or to have you set in gold. If only I could live in the same town with you and my parents... Do write me a nice letter soon. Your letters are like kisses."

"High on the mountain, deep in the valley, I greet you a thousandfold."

"According to my principles, every master has his true and certain value. Praise and criticism cannot change any of that. Only the work itself praises and criticizes the master, and therefore I leave to everyone his own value."

"More often than not, one meets technicians, nimble keyboardists by profession, who … indeed astound us with their prowess without ever touching our sensibilities .... stirring performance depends upon an alert mind which is willing to follow reasonable precepts in order to reveal the content of the compositions. What comprises good performance? The ability through singing or playing to make the ear conscious of the true content and affect of a composition. Any passage can be so radically changed by modifying its performance that it will be scarcely recognizable."

"A musician cannot move others unless he too is moved. He must feel all the emotions that he hopes to arouse in his audience, for the revealing of his own humor will stimulate a like mood in the listener."

"A prophet such as we could use again today, strong, zealous, angry and gloomy in opposition to the leaders, the masses, indeed the whole world. (Letter to his pastor Julius Schubring, 1846, regarding Mendelssohn's choral work 'Elijah' published that year)"

"Ich überhaupt vielseitigkeit nicht recht mag, oder eigentlich nicht recht daran glaube. Was eigenthümlich, und schön, und groß sein soll, das muß einseitig sein."

"Und sind Sie mit mir einer Meinung, daß es die erste Bedingung zu einem Künstler sei, daß er Respekt vor dem Großen habe, und sich davor beuge, und es anerkenne, und nicht die großen Flammen auszupusten versuche, damit das kleine Talglicht ein wenig heller leuchte?"

"Die Leute beklagen sich gewöhnlich, die Musik sei so vieldeutig; es sei so zweifelhaft, was sie sich dabei zu denken hätten, und die Worte verstände doch ein Jeder. Mir geht es aber gerade umgekehrt. Und nicht blos mit ganzen Reden, auch mit einzelnen Worten, auch die scheinen mir so vieldeutig, so unbestimmt, so mißverständlich im Vergleich zu einer rechten Musik, die einem die Seele erfüllt mit tausend besseren Dingen als Worten. Das, was mir eine Musik ausspricht, die ich liebe, sind mir nicht zu unbestimmte Gedanken, um sie in Worte zu fassen, sondern zu bestimmte."

"None investigated the Romantic’s obsession with feeling and passion quite so thoroughly as [Schumann]. Schumann died insane, but then some psychologists argue that madness is a necessary attribute of genius."

"Schumann is the most representative musical figure of central European Romanticism as much because of his limitations as because of his genius: in his finest works, indeed, he exploited these limitations in such a way that they gave a force to his genius that no other contemporary could attain."

"Schumann’s piano settings mostly evolve around the middle range of the piano keyboard, and lastly also for that reason his music is much more difficult to play. Often enough the result is mediocre sound (in both senses of the word) if you do not work strongly on highlighting the individual lines of the texture."

"Schumann‘s piano music is conceived more instrumentally, not necessarily for piano. This is true of Beethoven and Brahms too."

"If we were all determined to play the first violin we should never have an ensemble. therefore, respect every musician in his proper place."

"Schumann’s writing for the piano is very orchestral, and sometimes does not lie so easily under the hands. But it is still very well written for the piano and the technique he demands perhaps suits me better than Chopin’s."

"Perhaps genius alone understands genius fully. (Sometimes translated as: Perhaps only genius fully understands genius)"

"The talent works, the genius creates."

"In order to compose, all you need to do is remember a tune that nobody else has thought of."

"Sometimes I am so full of music, and so overflowing with melody, that I find it simply impossible to write down anything."

"[A]lmost every simple piece of Schumann’s has a hidden secret (with few exceptions, for example the Arabesque). Such a seemingly easy piece like “Des Abends” or some of the pieces from “Kinderszenen” can only be played by accomplished musicians."

"To send light into the depths of the human heart -- this is the artist's calling!"

"Of all god-gifted dispensers of joy, Johann Strauss is to me the most endearing. I willingly admit to having sometimes conducted the Perpetuum Mobile with far more pleasure than many a four movement symphony."

"The melodic idea which suddenly falls upon me out of the blue appears in the imagination immediately, unconsciously, uninfluenced by reason. It is the greatest gift of the divinity and cannot be compared with anything else."

"Mozart's melodies, Beethoven's symphonies, Schubert's songs, acts two and three of Tristan are symbols in which are revealed the most profound spiritual truths. They are not "invented", but are "given in their dreams"to those privileged to receive them. Whence they come no one knows, not even their creator, the unconscious mouthpiece of the demiurge."

"Melody as revealed in the greatest works of our classics is one of the most noble gifts which an invisible deity has bestowed on mankind."

"When during my stay in Egypt I became familiar with the works of Nietzsche, whose polemic against christianity was particularly to my liking, the antipathy which I had always felt against a religion which relieves the faithful of responsibility for their actions (by means of confession) was confirmed and strengthened."

":10. If you follow these rules carefully you will, with your fine gifts and great accomplishments, always be the darling of your listeners."

":9. When you think you have reached the limits of prestissimo, go twice as fast. (1948 Today, I should like to ammend this as follows: Go twice as slowly - addressed to conductors of Mozart)."

":8. Always accompany a singer in such a way that he can sing without effort."