Composers From Germany

"Your tone sounds like roast-beef gravy running through a sewer."

"In the intellectual market the quantity of the demand rises in proportion to that of the supply, but its quality does not keep pace with this increase. For example, the Old Testament of pianoforte players, Bach’s “Das wohltemperierte Klavier” is perhaps in almost as many hands as the New Testament, Beethoven’s Pianoforte Sonatas, but in few more heads than it was in former years, when it could only be had for six times the present price. Doubtless, its leaves are somewhat oftener turned over, but now, as then, about the sixth part, likely enough just the first sixth, is all that is studied in the real meaning of the word. Here truly is little more gained than a merely superficial acquaintance with the great father of German music."

"A tenor is not a man but a disease."

"Always conduct with the score in your head, not your head in the score."

"I am not a vegetarian."

"Here Chopin has the conviction that he has lost his power of expression. With the determination to discover whether his brain can still originate ideas, he strikes his head with a hammer (here the sixteenths and thirty-seconds are to be carried out in exact time, indicating a double stroke of the hammer). In the third and fourth measures on can hear the blood trickle (trills in the left hand). He is desperate at finding no inspiration (fifth measure); he strikes again with the hammer and with greater force (thirty-second notes twice in succession during the crescendo). In the key of A flat he finds his powers again. Appeased, he seeks his former key and closes contentedly."

"In the beginning was rhythm."

"It was von Bülow more than anybody else who by the force of personality, skill, perseverance and rasplike intelligence established the supremacy of the German school for several decades. He was the archetype of the German Tonkünstler: demanding, dictatorial, testy, chauvinistic, convinced of his superiority, possessed of a fine musical culture plus executive ability and leadership, and also of virulent, pathological anti-Semitism..."

"Through his life he cut a wide swath through Europe and American, terrifying and amazing people with his intellect, his temper, his sarcasm (Brahms once said, "Hans von Bülow's praise smarts like salt in the eyes so that tears run") and his undisputed musicianship. His temper was legendary. As a teacher he was a holy terror. Often he would take over Liszt's classes and attempt to weed them out. He told one of Liszt's young ladies that she should be swept out of the class "not with a broom but a broomstick. Go home!" To a girl who played Liszt's Mazeppa, the Étude that describes the galloping of a horse, von Bülow's compliment was that her only qualification for her playing the work was that she had the soul of a horse."

"Nobody beat me up as much as I beat myself up. This is what I love doing, and I have one life to do it in, and I better do it right, I better do it well."

"I wrote the notes, but the notes are only a tiny part of the journey for me. The team that surrounds me, speaks the same language."

"There was a dodgy digital period when things didn't sound great, but now we are figuring that out. The basics haven't changed, which is talented human beings playing together in a room."

"When you start the next project you have to forget everything you did before, otherwise Dark Knight will begin to sound like Kung Fu Panda."

"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."

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

"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."

"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."

"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."

"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."

"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."

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

"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."

"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."

"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."

"A work of art should express only that which elevates the soul and pleases it in a noble manner. The feeling of the artist should not overstep these limits; it is wrong to venture beyond."

"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."

"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."

"Nebulæ can be selected so that an insensible gradation shall take place from a coarse cluster like the Pleiades down to a milky nebulosity like that in Orion, every intermediate step being represented. This tends to confirm the hypothesis that all are composed of stars more or less remote."

"This consideration must alter the form of our proposed inquiry; for the question being thus at least partly decided, since it is ascertained that we have rays of heat which give no light, it can only become a subject of inquiry whether some of these heat-making rays may not have a power of rendering objects visible, superadded to their now already established power of heating bodies. This being the case, it is evident that the onus probandi [burden of proof] ought to lie with those who are willing to establish such an hypothesis, for it does not appear that Nature is in the habit of using one and the same mechanism with any two of our senses. Witness the vibration of air that makes sound, the effluvia that occasion smells, the particles that produce taste, the resistance or repulsive powers that affect the touch—all these are evidently suited to their respective organs of sense."

"The naked eye has its limit of vision in the stars of the sixth magnitude. The light of fainter stars than these does not affect the retina enough for them to be seen. A very small telescope penetrates to smaller, and, in general, without doubt, to more distant stars. A more powerful one penetrates deeper into space, and as its power is increased, so the boundaries of the visible universe are widened, and the number of stars increased to millions and millions. Whoever has followed the history of the series of Herschel's telescopes will have observed this. But Herschel was not content with the bare fact, but strove ever to know how far a telescope of a certain construction and size could penetrate, compared with the naked and unassisted eye. These investigations were never for the discovery of new facts concerning the working of his instruments; it was for the knowledge of the distribution of the fixed stars in space itself that he strove. Herschel's instruments were designed to aid vision to the last extent. They were only secondarily for the taking of measures. His efforts were not for a knowledge of the motions, but of the constitution and construction of the heavenly bodies."

"In this case, radiant heat will at least partly, if not chiefly, consist, if I may be permitted the expression, of invisible light; that is to say, of rays coming from the sun, that have such a momentum as to be unfit for vision. And admitting, as is highly probable, that the organs of sight are only adapted to receive impressions from particles of a certain momentum, it explains why the maximum of illumination should be in the middle of the refrangible rays; as those which have greater or less momenta are likely to become equally unfit for the impression of sight."

"A standard of reference for the arrangement of the stars may be had by comparing their distribution to a certain properly modified equality of scattering. The equality which I propose does not require that the stars should be at equal distances from each other, nor is it necessary that all those of the same nominal magnitude should be equally distant from us."

"To conclude, if we call light, those rays which illuminate objects, and radiant heat, those which heat bodies, it may be inquired whether light be essentially different from radiant heat? In answer to which I would suggest that we are not allowed, by the rules of philosophizing, to admit two different causes to explain certain effects, if they may be accounted for by one. ...If this be a true account of the solar heat, for the support of which I appeal to my experiments, it remains only for us to admit that such of the rays of the sun as have the refrangibility of those which are contained in the prismatic spectrum, by the construction of the organs of sight, are admitted under the appearance of light and colors, and that the rest, being stopped in the coats and humors of the eye, act on them, as they are known to do on all the other parts of our body, by occasioning a sensation of heat."

"Like Bradley, Herschel made an unexpected discovery in searching for parallax. He selected for observation stars close to each other in the sky, following the guidance of Galileo. Although Herschel failed to find parallax, he did find that in some cases the stars he observed appeared to be in relative motion around their common center of gravity. They were clearly "binary stars," bound by gravity to orbit one another. It is now realized that almost half of all stars can be found in binary systems."

"In future... we shall look upon those regions into which we may now penetrate by means of such large telescopes, as a naturalist regards a rich extent of ground or chain of mountains containing strata variously inclined and directed, as well as consisting of very different materials. The surface of a globe or map therefore will but ill delineate the interior parts of the heavens."

"These binary stars] may serve another very important end. ...Several stars of the first magnitude have been observed or suspected to have a proper motion; hence we may surmise that our sun, with all its planets and comets, may also have a motion towards some particular point of the heavens. ...If this surmise should have any foundation, it will show itself in a series of some years in a kind of systematical parallax, or change due to the motion of the whole solar system."

"It is very probable that the great stratum called the Milky Way is that in which the sun is placed, though perhaps not in the very centre of its thickness. ...We gather this from the appearance of the Galaxy, which seems to encompass the whole heavens, as it certainly must do if the sun is within it."

"According to my theory, a dark spot in the sun is a place in its atmosphere which happens to be free from luminous decompositions [above it]."

"I should not wonder if, considering all this, we were induced to think that nothing remained to be added; and yet we are still very ignorant in regard to the internal construction of the sun. ...The spots have been supposed to be solid bodies, the smoke of volcanoes, the scum floating on an ocean of fluid matter, clouds, opaque masses, and to be many other things. ...The sun itself has been called a globe of fire, though, perhaps, metaphorically. ...It is time now to profit by the observations we are in possession of. I have availed myself of the labors of preceding astronomers, but have been induced thereto by my own actual observation of the solar phenomena."

"That the emission of light must waste the sun, is not a difficulty that can be opposed to our hypothesis. Many of the operations of Nature are carried on in her great laboratory which we cannot comprehend. Perhaps the many telescopic comets may restore to the sun what is lost by the emission of light."

"It is evident that we cannot mean to affirm that the stars of the fifth, sixth, and seventh magnitudes are really smaller than those of the first, second, or third, and that we must ascribe the cause of the difference in the apparent magnitudes of the stars to a difference in their relative distances from us. On account of the great number of stars in each class, we must also allow that the stars of each succeeding magnitude, beginning with the first, are, one with another, further from us than those of the magnitude immediately preceding."

"Being self-taught, he had not known that astronomers were expected to focus on the solar system. Instead, he explored the construction of the universe, and it was on later generations that the questions he asked and the methods he devised to answer them were to have profound influence."

"The number of stands I invented for these telescopes it would not be easy to assign. ...In 1781 I began to construct a thirty foot aërial reflector, and having made a stand for it, I cast the mirror thirty-six inches in diameter. This was cracked in cooling. I cast it a second time, and the furnace I had built in my house broke."

"When I resided at Bath I had long been acquainted with the theory of optics and mechanics, and wanted only that experience so necessary in the practical part of these sciences. This I acquired by degrees at that place where in my leisure hours, by way of amusement, I made several two-foot, five-foot, seven-foot, ten-foot and twenty-foot Newtonian telescopes, beside others, of the Gregorian form, of eight, twelve, and eighteen inches, and two, three, five, and ten feet focal length. In this way I made not less than two hundred seven-foot, one hundred and fifty ten-foot, and about eighty twenty-foot mirrors, not to mention the Gregorian telescopes.*"

"In the year 1783 I finished a very good twenty-foot reflector with a large aperture, and mounted it upon the plan of my present telescope. After two years' observation with it, the great advantage of such apertures appeared so clearly to me that I recurred to my former intention of increasing them still further; and being now sufficiently provided with experience in the work which I wished to undertake, the President of the Royal Society, who is always ready to promote useful undertakings, had the goodness to lay my design before the king. His Majesty was graciously pleased to approve of it, and with his usual liberality to support it with his royal bounty."

"The starlike appearance of the following six nebulæ is so considerable that the best description... was to compare them to stars with certain deficiencies."

"I have made it a rule never to employ a larger telescope when a smaller will answer the purpose."

"In consequence of this arrangement I began to construct the forty-foot telescope about the latter end of 1785. The woodwork of the stand and machines for giving the required motions to the instrument were immediately put in hand. In the whole of the apparatus none but common workmen were employed, for I made drawings of every part of it, by which it was easy to execute the work, as I constantly inspected and directed every person's labor; though sometimes there were not less than forty different workmen employed at the same time. While the stand of the telescope was preparing, I also began the construction of the great mirror, of which I inspected the casting, grinding, and polishing, and the work was in this manner carried on with no other interruption than that occasioned by the removal of all the apparatus and materials from where I then lived, to my present situation at Slough."

"Here [in Slough], soon after my arrival, I began to lay the foundation upon which by degrees the whole structure was raised as it now stands, and the speculum being highly polished and put into the tube, I had the first view through it on February 19, 1787. ...the first speculum, by a mismanagement of the person who cast it, came out thinner on the centre of the back than was intended, and on account of its weakness would not permit a good figure to be given to it. ...A second mirror was cast January 26, 1788, but it cracked in cooling. February 16 we recast it, and it proved to be of a proper degree of strength. October 24 it was brought to a pretty good figure and polish, and I observed the planet Saturn with it. But not being satisfied, I continued to work upon it till August 27, 1789, when it was tried upon the fixed stars, and I found it to give a pretty sharp image. Large stars were a little affected with scattered light, owing to many remaining scratches on the mirror. August the 28th, 1789, having brought the telescope to the parallel of Saturn, I discovered a sixth satellite of that planet, and also saw the spots upon Saturn better than I had ever seen them before, so that I may date the finishing of the forty-foot telescope from that time."