Composers From Germany

"Producers of opera nowadays usually make the mistake of translating each particular orchestral phrase into terms of a movement on the stage. In this matter one should proceed with a maximum of caution and good taste. There is no objection to bringing life to into the production by changes of position and new nuances of acting during repetitive passages of music, especially in arias. Preludes of one or two bars frequently, and especially in Mozart, clearly express some gesture on stage. But each trill on the flute does not represent a wink on the prima donna, nor every delayed chord on the strings a step or gesture. Whole passages, especially in the finales, are pure concert music and are best left undisturbed by “play acting”."

"If my works are good and of any importance for the further development of our art, they will maintain their position in spite of all opposition on the part of critics, and in spite of all denigration of my artistic intentions. If they are worthtless, not even the most gratifying box office success or the most enthusiastic acclamation of augurs will keep them alive. Let the pulping press devour them...I shall not shed a tear over their grave."

":5. But never let the horns and woodwind out of your sight: if you can hear them at all they are still too strong."

"I am not one to compose long melodies as did Mozart. I can’t get beyond short themes. But what I can do, is utilize such a theme, paraphrase it and extract everything that is in it, and I don’t think there’s anybody today who can match me in that."

"He definiteley thinks in colored images. Ein Heldenleben is a book of images, cinematography even."

"Conducting is, after all, a difficult business – one has to be seventy years of age to realise this fully!"

"Richard Strauss has neither a foolish wild curly mane, nor the movements of a madman. He is tall and in his free, resolute attitude he looks like one of those great explorers who, with a smile on their faces, cross the territory of savage peoples. Doesn't one need something of this attitude in order to be able to shake the well-mannered public?"

"John Cale did a really interesting version of Heartbreak Hotel, in a minor key. It's incredibly suicidal. I mean you could never believe that that song could turn out to be such a downer as that... Nico did Deutschland Über Alles, which was very good... and she did The End by The Doors, which is the one they put on the album... Nico doing The End was so chilling, it really was. It was incredible. She invests it with so many levels of meaning I didn't hear in the Doors' one. She underplays it... there's just the harmonium, me playing synthesizer— almost doubling the harmonium part— and her singing... which is just like a rich, kind of non-specific miasma of sound..."

"Of course, it's her own sexuality that she's denying", he continued. Did I know that she'd been raped as a teenager in Berlin? I didn't. Nico was working as a temp for the U.S. Air Force. A black American Sergeant had raped not only her, but other girls under his employ. She'd kept quiet about it, but he was found out and court-marshalled. She had to testify for the prosecution at his trial. He was sentenced to death and shot. Nico was 15. "Not only does she have to carry the horror of the rape but the secret guilt of somehow being complicit, by her testimony, in his execution. Sex for Nico....is irrevocably associated with punishment."

"You will never see these lightsGlowing in your nights If you don't know And there are roses growing in the snow."

"Often the adolescent plagueReward your graceConfuse your hunger capture the fake..."

"Cease to know or to tellOr to see or to be your ownHave someone else's will as your ownHave someone else's will as your own."

"Banish the faceless reward your graceBanish the faceless reward your grace."

"I don't have a sense of time. Time is timeless to me, and I'm not in a hurry to get older. I mean, if I were worried about time, all the time, it would be terrible."

"Jim Morrison tells me that people are looking at the streets while I am looking at the moon. I do not feel connected enough [with the issues] to throw stones at a policeman. I want to throw stones at the whole world."

"You are beautiful and you are alone."

"He came your way And when he had to go There were roses growing in the snow Silently you'll go to the shadow of your soul And you know that it was like this before we had to go You will never see these lights Glowing in your nights Until you feel this way."

"I have a habit of leaving places at the wrong time, just when something big may have happened for me."

"I would say the time has not yet come. I rebel against the present, whenever it is, because I have not seen any change, other than oppositions grow stronger. I would be a communist if it was more anarchist. Otherwise, I see only everything as an absurdity, so I can laugh and cry. I have lived in a continuation, from birth and growing towards death in a chain that cannot end. I don't see this decade then that decade. The same things happen in different guises. I am bohemian but at one time you would call me a hippie or a punk. I remain a bohemian whatever you call me. So maybe I am locked in the fifties. But I have never desired to grow up from my world as a child, which is when things are most clear and utopian. They are clear because you are at the center and you see all around you. When you get older you lose your sight … I lost something of my childishness when people around me start dying. Four of my family died within a year."

"You could say it like was like a fairy tale at the time; Andy would be the good fairy, and Jim would play the giant, Brian would be the witch, Paul McCartney would be the frog who turns into a prince, no, it would have to be the other way round. Well, it didn't seem like a fairy tale at the time. It was a lot of hassle. But I learned a lot of things, and I began to compose my own songs."

"With every moon it is as though you're getting closer to your soul And then you go alone and with no fear Then you will know That it was like this before we had to go And you will find that you were blind Until you saw these lights glowing in your nights."

"I think he was the first man I met who was not afraid of me in some way. We were very similar, like brother and sister. Our spirits are similar. We were the same height and the same age, almost … He was well read and he introduced me to William Blake and also the English Romantic poets who came after him. Jim liked Shelley. I preferred Coleridge. In fact, he is my favoured poet of all time. Did you know they were all drug addicts? Coleridge was addicted to opium. It is better to be addicted to opium than to be addicted to money."

"You are going to Vienna in fulfillment of your long-frustrated wishes. The Genius of Mozart is mourning and weeping over the death of her pupil. She has found a refuge but no occupation with the inexhaustible Haydn; through him she wishes to form a union with another. With the help of assiduous labor you shall receive Mozart's spirit from Haydn's hands."

"Knowing the theory of anything is contrasted with know-how in all the arts...Beethoven..Michelangelo..Shakespeare, all great exponents of know-how, probably knew how to manipulate their instruments to achieve the desired results long before they knew the theory of their art. Perhaps some of them never bothered to learn the theory. On the other hand, there are many who know the theory better than these, but who lack know-how....Although we acquire the skill of understanding words by experience, so that we know the correlations between them and things, between words and other words, and between words and feelings and actions, we do not do it by inductive reasoning. Nor must we think that we do it by deductive reasoning... In the main, words are cues rather than clues."

"My theory was that we are all fundamentally 'multiple personalities', beginning with the baby and the child, and slowly developing into more complex selves. If, for some reason, we abruptly cease to develop -- through some trauma that undermines self-confidence -- all those potential personalities are stunted and repressed. And some accident or violent shock may give one of them the opportunity to 'take over'. This suggests, of course, that in some mysterious sense, our 'future' personalities are already there, in embryo, so to speak, and that they also develop as we mature. We move from personality to personality, as we might climb a ladder. The Beethovens and Leonardos got further up the ladder than most of us; yet even they failed to reach the top, as we can see if we study their lives."

"Who can measure the worth of a Shakespeare, a Michelangelo or Beethoven in dollars and cents?"

"His ideas came so profusely that he always had several works going on at once, and he always meditated and thought over them for a long while before he brought them to completeness. His practice was to jot down the ideas roughly as they came into his head in little sketch-books which he carried in his pocket, and he then polished and improved these original ideas time after time, sometimes for years, before he worked them up into complete works."

"When his friends, says Czerny, speak to him of his youthful renown, he replies: "Ah, nonsense! I have never thought of writing for renown and glory. What I have in my heart must out; that is why I write.""

"I sometimes dwell on the fact that there's one thing that time and humankind will not be able to take away from me, leaving me rich, richer than Croesus: the bliss that I derive from a Heine poem, from a Beethoven sonata or a DaVinci painting."

"Beethoven did not always plumb the depths. He was not always busy with major problems and the most significant spiritual experiences. Such works, as the fourth, sixth, and eighth symphonies depict states of mind that require no such intensity of realization. It is significant that they were all written comparatively quickly... They are not in the main line of Beethoven's spiritual development."

"A colossus beyond the grasp of most mortals, with his totally uncompromising power, his unsensual and uningratiating way with music as with people."

"It was not an enjoyable experience. First of all the piano was dreadfully out of tune, which did not trouble Beethoven in the least, since he could not hear it. Little or nothing remained of the brilliant technique which had been so much admired. In loud passages the poor deaf man hammered away at the notes crashing through whole groups of them so that without the score one lost all sense of the melody. I was deeply moved by the tragedy of it all. Beethoven's almost continual melancholy was no longer a mystery to me."

"A brain scan may reveal the neural signs of depression, but a Beethoven symphony reveals what that depression feels like. Both perspectives are necessary if we are to fully grasp the nature of mind, yet they are rarely brought together."

"Another equally true saying of Schumann is that, compared with Beethoven, Schubert is as a woman to a man. For it must be confessed that one's attitudes towards him is almost always that of sympathy, attraction, and love, rarely that of embarrassment or fear. Here and there only, as in the Rosamund B minor Entr'acte, or the Finale of the 10th symphony, does he compel his listeners with an irrestistible power; and yet how different is this compulsion from the strong, fierce, merciless coercion, with which Beethoven forces you along, and bows and bends you to his will."

"when people ask you for "influences," they almost inevitably mean literary ones. How silly. It's very probable that listening to Beethoven might influence a writer far more deeply than anything read, but only musicians are asked about Beethoven. The same thing is true, of course, with painting. We really ought to run the arts together more."

"As usual he submitted to the interminable entreaties and finally was dragged almost by force to the pianoforte by the ladies. Angrily he tears the second violin part of one of the Pleyel quartets from the music-stand where it still lay open, throws it upon the rack of the pianoforte, and begins to improvise. We had never heard him extemporize more brilliantly, with more originality or more grandly than on that evening. But throughout the entire improvisation there ran in the middle voices, like a thread, or cantus firmus, the insignificant notes, wholly insignificant in themselves, which he found on the page of the quartet, which by chance lay open on the music stand; on them he built up the most daring melodies and harmonies, in the most brilliant concert style. Old Pleyel could only give expression to his amazement by kissing his hands. After such improvisations Beethoven was wont to break out into a loud and satisfied laugh."

"Immer spricht man von der Cis-moll-Sonate; ich habe doch wahrhaftig Besseres geschrieben. Da ist die Fis-dur-Sonate doch etwas anderes."

"His improvisation was most brilliant and striking. In whatever company he might chance to be, he knew how to produce such an effect upon every hearer that frequently not an eye remained dry, while many would break out into large sobs; for there was something wonderful in his expression in addition to the beauty and originality of his ideas and his spirited style of rendering them. After ending an improvisation of this kind he would burst into loud laughter and banter his hearers on the emotion he had caused in them. "You are fools!" he would say. Sometimes he would feel himself insulted by these indications of sympathy. "Who could live among such spoiled children?" he would cry, and only on that account (as he told me) he declined to accept an invitation which the King of Prussia gave him after one of the extempore performances above described."

"If the question [about if there were only one composer in the world I could play] is purely ‘original’ works, no transcriptions, then Beethoven."

"The Pianoforte Sonatas of Beethoven must always be among the choicest possessions of all who love music and especially of those who make music their main object and study."

"Plaudite, amici, comedia finita est. (Applaud, my friends, the comedy is over.)"

"Muß es sein? Es muß sein."

"Ich werde im Himmel hören! (I will hear in heaven!)"

"The day-to-day exhausted me!"

"You will hear nothing of me here ... Fidelio? They cannot give it, nor do they want to listen to it. The symphonies? They have no time for them. My concertos? Everyone grinds out only the stuff he himself has made. The solo pieces? They went out of fashion long ago, and here fashion is everything. At the most, Schuppanzigh occasionally digs up a quartet."

"Ach du erbärmlicher Schuft, was ich scheiße ist besser, als was du je gedacht."

"I would rather write 10,000 notes than a single letter of the alphabet."

"One clashes with stupidity of all kinds. And then how much money must be spent in advance! The way in which artists are treated is really scandalous. I am compelled to give a third of my receipts to the manager of the theatre and a fifth to the hospitals. Devil take them! As long as these abuses exist, I shall always ask whether music is or is not an art that may be freely exercised. Believe me, there is nothing to be done for artists in times like these."

"I met [Meyerbeer] at the performance of my "Battle." Most of the composers then in Vienna were kind enough to undertake something or other in my orchestra, and the young man played the big drum. Ha! ha! ha! (a peal of laughter). I had reason not to be very well satisfied with him. He was always behindhand, and I had to give it him roundly. (New peal of laughter.) He must have felt mortified by my observations; but there is no reliance to be placed in him; he has not the courage to raise his arm at the proper moment."

"It is a recognised fact that the greatest composers were likewise the greatest virtuosos; but did they play like the pianists of the present day, who run up and down the keyboard with passages studied beforehand? Pooh! pooh! pooh! Don't tell me! A real virtuoso, when extemporising, plays pieces which hold together and possess a form. Were the ideas in them fixed instantly on paper, they would be taken for pieces written at leisure. That is what I call playing the piano; everything else is a bad joke."