Poets From Austria

"Wo ist dein Selbst zu finden? Immer in der tiefsten Bezauberung, die du erlitten hast. ... Die ganze Seele ist nie beisammen, außer in der Entzückung."

"Des Mannes Parze ist das Weib. Sie ist's, die seinen Lebensfaden spinnt – dunkel oder golden."

"Man's destiny is woman. She it is who spins the thread of his life—dark or golden."

"Hindus have a greater respect for the spoken word than do people in the West. Not only every word in a mantra, but practically every sound and every word in the language is called akshara in Sanskrit, which means "the indestructible." Akshara is also a name for God. A true mantra should be sung not spoken. Indian scriptures call Brahma the Creator "the first singer." Our world is said to have sprung from the mantra he sang. In the West, these ideas are probably utterly foreIgn, and yet there are traces of similar teachings.""

"Gott denkt in den Genies, träumt in den Dichtern und schläft in den übrigen Menschen."

"Those who look for contradictions will be amply satisfied. The profession of a performer is full of paradoxes, and he has to learn to live with them. He has to forget himself and control himself; he has to observe the composer's wishes to the letter and create the music on the spot; he has to be part of the music market and yet retain his integrity."

"The word 'listen' contains the same letters as the word 'silent'."

"If I belong to a tradition, it is a tradition that makes the masterpiece tell the performer what to do, and not the performer telling the piece what it should be like, or the composer what he ought to have composed."

"Why does he think what he's playing is better than other interpretations? He must think it's better and the question is why. It's not because what he plays is more beautiful than what he might otherwise play. Because if he was aiming at beauty, he could depart from what the composer had written. But he is faithful to the composition. And yet, he's not just playing the composer's music, he's interpreting it."

"Alfred Brendel is a line guy trapped in a chord guy’s body."

"I am accountable to the composer, but I am also there to communicate something to the listener. I am not delivering a soliloquy, but am somewhere in the middle."

"Hearing has its own memory. It registers the dog whose sudden barking startled me as a child. The folk songs my nanny used to sing. The dadaism of a cabaret song from Berlin: ‘I tear out one of my eyelashes and stab you dead with it,’ innocently sung by my mother. Hitler conjuring up the Almighty. The crowing voice of little Goebbels. Alarm sirens, the roar of aircraft, the blast of bombs. Ljuba Welitsch being Salome. The sonorities of Edwin Fischer’s piano playing. María Casares as Lady Macbeth in Avignon. Ralph Kirkpatrick’s two Scarlatti recitals. Gré Brouwenstijn as Leonore in Fidelio. The epiphany of Ligeti’s Aventures et Nouvelles Aventures. The magic application of noise in Peter Brook’s A Midsummer Night’s Dream. All sorts of laughter."

"Edwin Fischer was, on the concert platform, a short, leonine, resilient figure, whose every fiber seemed to vibrate with elemental musical power. Wildness and gentleness were never far from each other in his piano-playing, and demonic outbursts would magically give way to inner peace. It was as little trouble to him (as Alfred Polgar once said of an actor) to lose himself as to find himself. His playing of slow movements was full of an unselfconsciousness beside which the music-making of others, famous names included, seemed academic or insincere. With Fischer, one was in more immediate contact with the music: there was no curtain before the soul when he communicated with the audience. One other musician, Furtwangler, conveyed to the same degree this sensation of music not being played, but rather happening by itself."

"You need three or five hands to play Ligeti."

"Unlike Beethoven’s sonatas, but like his own song cycles, Schubert’s piano sonatas were not of a nature to inspire the need for public performance for a long time. Sviatoslav Richter’s comprehension of this special intimate nature can explain his interpretation of some of the late sonatas. his very slow tempo in the first movement of the last sonata in B-flat Major (marked only Molto moderato) excited the derision of Alfred Brendel. As I remember, Richter takes almost half an hour for this movement alone, with three more still to go. Brendel was right in thinking the tempo incorrect or inauthentic, but he also appeared not to feel that the intimacy of the work was also essential to its authenticity, and contented himself with a large- scale rendition. The movement is indeed of grand dimensions, but the paradox of schubert’s style here is the astonishing quantity of dynamic indications of pianissimo and even ppp, broken most memorably just before the repeat of the exposition by a single fierce and unexpectedly brutal playing as loudly as possible of the trill of the principal motif, heard so far only very softly (a repeat that Brendel refused to perform, perhaps because the unprepared violence is awkward in a large hall, although paradoxically more convincing in an intimate setting). Richter was an extraordinarily intelligent musician: whenever there was a significant detail in the score, it was always signaled by a reaction in his interpretation, not always, perhaps, the reaction that one would have liked, but no matter."

"Those psychological observers who have accustomed themselves to consider the interior and exterior as intimately combined — as the inspiration and expiration of one living being— will readily understand and apprehend the views which I have here advanced. Not so those who are wont to regard mind and body as antagonistic entities associated in an arbitrary manner; or who adopt the prevailing opinion, that every enjoyment of man's sensual nature is detrimental to his spiritual being, or that the mind can only be cultivated at the expense of the body. Such a view would condemn the unfortunate mortal to an alternative of destruction in one form or another, from that creative force which every desire excites within him. But it may be asked, do not the frequent examples of sickness in the learned and the citizen, and of health in the illiterate and the peasant, confirm the opinion now alluded to? I answer that everything depends on our forming a correct idea of cultivation."

"To correct the tribe of our younger poets we shall soon require the aid of a physician, not of a critic. Their history may be told in a few words. A young man educated, or rather mis-educated, without experience, without study, without any definite tendency, without the power of exertion, or of tasting any genuine enjoyment, becomes conscious of his miserable oscillation between existence and non-existence —between not having lived and not being about to live—between a barren past and a barren future. He now takes to novel reading, frequents the theatres, compares himself to heroes or poets, and makes verses. All on a sudden the thought flashes across his mind that his unhappy condition is connected with the unfilled profundity of his feelings—with an unsatisfied yearning of the soul. He rushes headlong into the ocean of melancholy, and indulges in expressions with which the poetic springs of latter years have inundated us; he bathes in these waters, and contemplates his own image reflected from their surface."

"You must master an object before you attempt to despise it."

"Composition, even when we have no idea of appearing in print, is an excellent dietetic tonic. ... The best and quickest mode of banishing a painful impression, or a torturing feeling, is to give it expression in words. We thus relieve the mind from present, and fortify it against future pangs."

"A treatise on mental dietetics would be imperfect without some special notice of that most irrational and melancholy of all human torments, hypochondriasis. Reason, morality, wit, and even religion, have endeavoured by every possible means to exorcise this demon. By pamphlets and by books—in tragedy and in comedy — from the pulpit and on the stage, it has been denounced and ridiculed."

"Until we attain a clear idea of our inclinations, the best line of conduct we can pursue is to act uprightly; and establish for ourselves certain rules, adapting them to the various conditions of our existence, so as to penetrate and purify our whole life. Among these rules, I would include the conviction that hatred may be subdued by love; and to impress this axiom more strongly on the mind, we should remember the blessings conferred by love on the human race."

"Who is unacquainted with the sparkling eye. The full and quick pulse, the free respiration, the glowing colour, and serene brow of the joyous? Who is not familiar with the trembling aspect, the stammering hesitation, the cold ruffled skin, the bristling hair, the palpitating heart, the uneasiness, the impeded respiration, the paleness, the low pulse, and all the other symptoms occasioned by fear?"

"Had Mephistopheles conferred no other service on Faust than easing him for a while of his cloak of learning, the doctor would have had little cause for despair. But the act of awaking is regulated by different principles from those which govern the act of going to sleep. In the former case, the hand of force is often necessary. Life points out with an iron staff the path which each individual should follow. Happy is the man who sees this staff, and follows the path; instead of tarrying by the way until weary, and, incapable of further exertion, he sinks bleeding to the ground. A high degree of mental culture, or a delicate tact, possessed by few, are required to distinguish the necessity of earnestness, or even of pain, in the midst of enjoyment."

"“The greatest treasure that God can give his creatures is and ever will be—genuine existence". If these words of Herder be true, cultivation is the key to the most precious of treasures; for as Nature has insured the permanence of existence by implanting in us a force of resistance and self-renovation, so may we, on our side, increase the force of these attributes by self-acquired powers of mind."

"True philosophy is a living wisdom, for which there is no death."

"As character comprises the entire sphere of the educated will, so temperament is nothing else than the sum of our natural inclinations and tendencies. Inclination is the material of the will, developing itself when controlled, into character, and when controlling, into passions. Temperament is, therefore, the root of our passions; and the latter, like the former, may be distinguished into two principal classes. Intelligent psychologists and physicians have always recognised this fact..."

"The man dissatisfied with the world will be dissatisfied with himself, so as to be continually eaten up by his own ill humor. And in such a state of mind how can he retain health?"

"We live in stormy and unsettled times. Hence we may confer a benefit, not only on ourselves, but on others, by diverting attention from the exciting circumstances of the present day—from the disheartening eccentricities of a literature which meanders in a thousand frivolous directions—to the calm regions where the inner man, self-examined, submits himself to moral treatment. Here our connection with things, our object, our duty, become clear; and, while we quietly separate ourselves from a world which is unable to assure us of anything, we feel that the joy we thought lost again returns, and that a second innocence spreads its clear and tranquillizing light over human existence. The child may amuse himself with childish rhymes. Man should find his recreation in reflecting on his relation to the things of this life. To all has this power been vouchsafed; by all should it be exercised."

"Our minds are so constituted that a change of objects brings nearly as much relief as actual repose."

"We cannot avoid moodiness; but we may turn to account, as does the poet, the various dispositions of the mind, or give them form and shape, as the sculptor his marble."

""He who wounds me" exclaims an animated writer, “ injures my body only: but he who wearies me assassinates my soul.” And he who wearies himself needs to be placed under a system of mental dietetics."

"We have aimed at popularity in the best sense of that term. The truly popular writer never sinks into the vulgar crowd. He rather raises the masses by bringing the highest subjects within their comprehension, making them, without a show of erudition, easily understood"

"Those views of life which deify pleasure are less likely to yield it."

"It is not enough to contemplate ourselves objectively; we must also treat ourselves objectively."

"It has been well remarked of the poems of Hafiz, that their refreshing influence does not depend so much on the sense of the words as on the tone of mind produced in the reader."

"Better to wear worn shoes than to polish the boots of shop owner."

"There are no holidays for art; and that’s just fine with the artist."

"Forewarned is forearmed."

"The artist is lonesome and admits his solitude."

"Every child instinctively heads toward dirt and filth unless you pull it back."

"Of course, art turns many people away for there has to be a limit. The limits between the gifted and the ungifted."

"Just keep following my tears, and the brook will take you in."

"if someone has a fate, then it's a man, if someone gets a fate, then it's a woman."

"For the first thing a proprietor learns, and painfully at that, is: Trust is fine, but control is better."

"Happiness happens by chance, and is not a law or the logical consequences of actions."

"nothing comes of nothing after all."

"often these women marry or they are ruined some other way."

"I have a feeling that you despise your body and that you only value art, you only value your argent needs, but eating and sleeping aren’t enough. You believe that your appearance is your enemy, and the only friend you have is music. Why look just in the mirror, look at your reflection, you’ll never find a better friend that yourself."

"Sometimes, of course, art creates the suffering in the first place."

"Death the Laveller annihilates all distinctions."