violinists

"As a composer, he enriched violin music by his numerous concertos and sonatas, and by a few dainty songs. However, it is as a virtuoso and as the founder of modern violin playing that Viotti will be remembered."

"Israel’s actions are fundamentally at odds with the values that Eurovision claims to uphold — peace, unity, and respect for human rights."

"Arcangelo Corelli was the main founder of modern orchestral playing and the composer who fashioned two new musical forms, the Baroque trio and solo sonata, and the concerto grosso."

"It takes a special kind of musician to stand onstage with Jimmy Page, Robert Plant and John Bonham and hold their own. John Paul Jones is that musician twice over, primarily on bass but also on keys. Jonesy’s Jazz Bass is an integral part of the Led Zeppelin sound, with its thunderous harmonic overtones providing a solid bed for Page to go ham all over while also not getting lost underneath the almighty power of Bonham’s gloriously animalistic drumming style."

"Perhaps the most interesting and undoubtedly impressive aspect of Jones' run is the fact he's essentially had two careers. The first came with Led Zeppelin, where he was arguably the most unheralded member of the legendary rock outfit . When Led Zeppelin disbanded following drummer John Bonham's death, Jones ensured he kept his bass plugged in. Jones, whose professional career began as a technically sound session player capable of playing anything from blues to hard rock, had no trouble making a living while working with the likes of R.E.M, Foo Fighters, and Peter Gabriel in his post-Zeppelin world."

"Out of the conquered Past Unravishable Beauty; Hearts that are dew and dust Rebuking the dream of Death; Flower of the clay down-cast Triumphant in earth’s aroma; Strings that were strained in rust A-tremble with Music’s breath!Wine that was spilt in haste Arising in fumes more precious; Garlands that fell forgot Rooting to wondrous bloom; Youth that would flow to waste Pausing in pool-green valleys— And Passion that lasted not Surviving the voiceless Tomb!"

"I have seen the God Pan and it was in this manner: I heard a bewildering and pervasive music moving from precision to precision within itself. Then I heard a different music, hollow and laughing. Then I looked up and saw two eyes like the eyes of a wood-creature peering at me over a brown tube of wood. Then someone said: Yes, once I was playing a fiddle in the forest and I walked into a wasp's nest. ... When a man is able, by a pattern of notes or by an arrangement of planes or colours, to throw us back into the age of truth, a certain few of us – no, I am wrong, everyone who has been cast back into the age of truth for one instant – gives honour to the spell which has worked, to the witch-work or the art-work, or whatever you like to call it. Therefore I say, and stick to it, I saw and heard the God Pan; shortly afterwards I saw and heard Mr. Dolmetsch."

"It was Dolmetsch, the Belgian sic] musician, who first taught me what a great musician Sullivan really was; till then I knew nothing of him except as a writer of the comic operas; but Dolmetsch taught me the splendor of 'The Golden Legend' and the beauty of some of his songs, such as 'Oh Mistress Mine' and 'Orpheus with His Lute'. Dolmetsch explained many musical problems to me. Of course, everyone knows that he was the first to make the harpsichord and clavichord as in the earlier days, but to hear him play Bach on the instrument that Bach had written his music for was an unforgettable experience: it was like hearing a great sonnet of Shakespeare perfectly recited for the first time."

"Has he tempered the viol’s wood To enforce both the grave and the acute? Has he curved us the bowl of the lute? Lawes and Jenkyns guard thy rest Dolmetsch ever be thy guest."

"Trying to be better than someone else is a pure waste of time. Strive to be better than you were yesterday."

"When I was back there listening to Eric play and I thought, 'Gosh, I hate it when the warm up guy is better than I am.' He was great."

"The main thing is not to lose your identity and to continue working ... You have a quartet. That is such joy! You can forget everything else in the world. I'm playing a lot of chamber music these days. Tomorrow we were going to give the first performance of two trios, but because of the mourning, all concerts have been canceled."

"When I think of myself in those years, it seems to me that I was playing quite freely and fluently, tonally pure. But there is still have many years of hard work over the sound, rhythm and dynamics. Of course, most importantly, a deep comprehension of the inner content."

"I was three and a half years old when my father brought home a toy fiddle," playing "with which I am very happy fancies himself a street musician... I thought not and could not be happier than go from house to house with a violin "."

"Oistrakh's playing was not so much marked by brilliance, but by richness, lyricism, roundness of tone; the unbelievable sharp and clear contact between string and bow, his ability to lengthen the bow stroke on even the shortest notes without the slightest tension, his beautifully fleshy, supple left hand capable of producing glorious vibrato together with an infinite variety of shades."

"Dis-moi ce que tu manges, je te dirai ce que tu es."

"La découverte d'un mets nouveau fait plus pour le bonheur du genre humain que la découverte d'une étoile."

"It’s not too difficult to find a string player who really sings on his instrument, but it’s very rare to find a string player who speaks on his instrument."

"Nothing is more difficult than talking about music: if it is a prickly business for musicians, it is almost impossible for anyone else—the strongest, subtlest minds go astray."

"I don't want to be conducting Mahler with my head stuffed full of 10 million notes from other composers."

"In fact the hardest part is trying to forget music when I'm not conducting it."

"I come to a performance of music that I know very well as if I were performing it for the first time. Every day is a new day, a new experience. This is the way I approach a masterpiece. A masterpiece can never age - it's only the people who perform it or listen to it who become insensitive to it. If you come with a fresh feeling toward a masterpiece, it will always feel fresh and give you the benefit of its genius."

"Music is life and, like it, inextinguishable."

"JS Bach has been called 'the supreme arbiter and law-giver of music'. He is to music what Leonardo da Vinci is to art and Shakespeare is to literature, one of the supreme creative geniuses of history."

"I would vote for Bach, all of Bach, streamed out into space, over and over again. We would be bragging of course."

"Bach opens a vista to the universe. After experiencing him, people feel there is meaning to life after all."

"I think that if I were required to spend the rest of my life on a desert island, and to listen to or play the music of any one composer during all that time, that composer would almost certainly be Bach. I really can't think of any other music which is so all-encompassing, which moves me so deeply and so consistently, and which, to use a rather imprecise word, is valuable beyond all of its skill and brilliance for something more meaningful than that – its humanity."

"All roads lead to Bach."

"The prerequisite of contrapuntal art, more conspicuous in the work of Bach than in that of any other composer, is an ability to conceive a priori of melodic identities which when transposed, inverted, made retrograde, or transformed rhythmically will yet exhibit, in conjunction with the original subject matter, some entirely new but completely harmonious profile."

"Bach is, for me, the touchstone that keeps my playing honest. Keeping the intonation pure in double stops, bringing out the various voices where the phrasing requires it, crossing the strings so that there are not inadvertent accents, presenting the structure in such a way that it's clear to the listener without being pedantic - one can't fake things in Bach, and if one gets all of them to work, the music sings in the most wonderful way."

"One of the most extraordinary things about history's most extraordinary musician is the fact that this man's music, which exerts such a magnetic attraction for us today, against which we tend to measure much of the achievement in the art of music in the last two centuries, that this music had absolutely no effect on either the musicians or the public of his own day. And the strange thing about Bach is that he doesn't at all fit our conception of the misunderstood genius who was years ahead of his time. He was certainly misunderstood, but not because he was ahead of his time, rather because according the musical disposition of that day, he was generations behind it."

"Bach is the immortal God of Harmony."

"To be able to hear J. S. Bach take a melody and improvise what amounts to a spontaneous composition is the most amazing thing I can think of."

"For Bach, it wasn't finality that mattered in music, it was simply the joyous essence of being."

"Pongileoni's bowing and the scraping of the anonymous fiddlers had shaken the air in the great hall, had set the glass of the windows looking onto it vibrating: and thus in turn had shaken the air in Lord Edward's apartment on the further side. The shaking air rattled Lord Edward's membrane tympani; the interlocked malleus, incus, and stirrup bones were set in motion so as to agitate the membrane of the oval window and raise an infinitesimal storm in the fluid of the labyrinth. The hairy endings of the auditory nerve shuddered like weeds in a rough sea; a vast number of obscure miracles were performed in the brain, and Lord Edwards ecstatically whispered "Bach!""

"To Bach, notes were not just sounds but the very stuff of creation."

"Dem höchsten Gott allein zu Ehren, Dem Nächsten draus sich zu belehren."

"Und soll wie aller Musik also auch des Generalbasses Finis und Endursache anders nicht als nur zu Gottes Ehre und Recreation des Gemütes sein. Wo dieses nicht in acht genommen wird, ists keine eigentliche Musik, sondern ein Teuflisches Geplerr und Geleier."

"My hero was J. S. Bach. It was from his works that I came to understand mathematics and, through a greater understanding of math, came to a greater understanding of Bach—the golden ratio, the rise of complexity through the reiteration of simple elements, the presence of the cosmic in the common."

"Not brook, but ocean should be his name (Bach is the German word for brook.)"

"Elgar is not manic enough to be Russian, not witty or pointilliste enough to be French, not harmonically simple enough to be Italian and not stodgy enough to be German. We arrive at his Englishry by pure elimination."

"People who talk of the spread of music in England and the increasing love of it, rarely seem to know where the growth of the art is really strong and properly fostered: some day the press will awake to the fact, already known abroad and to some few of us in England, that the living centre of music in Great Britain is not London, but somewhere further North."

"I always said God was against art and I still believe it. Anything obscene or trivial is blessed in this world and has a reward – I ask for no reward – only to live & to hear my work."

"Play it like something you hear down by the river."

"His range is so Handelian that he can give the people a universal melody or march with as sure a hand as he can give the Philharmonic Society a symphonic adagio, such as has not been given since Beethoven died."

"The aggressive Edwardian prosperity that lends so comfortable a background to Elgar's finales is now as strange to us as the England that produced Greensleeves and The Woodes so wilde. Stranger, in fact, and less sympathetic. In consequence much of Elgar's music, through no fault of its own, has for the present generation an almost intolerable air of smugness, self-assurance and autocratic benevolence."

"My idea is that there is music in the air, music all around us, the world is full of it and you simply take as much as you require."

"Sibelius has an acutely developed sense of identification with nature and a preoccupation with myth that at one and the same time define his unique strength and his basic limitation. These preoccupations override his involvement in the human predicament, except in so far as it affects man’s relationship with nature."

"To my friends pictured within."

"In his work a means of escape has been found from outmoded romanticism on the one hand and from a barren objectivity on the other."