Composers From France

"For art to be art it has to cure."

"It is useless to know the future if one ignores who one is here in the moment. (...) The more I advance, the more I notice that all problems stem from the genealogy tree. To enter into a person's difficulties is to enter into his family, to penetrate the psychological atmosphere of his domestic milieu. We are all marked, not to say contaminated, by the psychomental universe of our people. A number of people have associated with them a personality that is not theirs, one that is borrowed from one or more members of their emotional environment. To be born into a family is to be, if I may say it this way, possessed. This possession is transmitted from generation to generation: the enchanted becomes the enchanter in projecting onto his children what was projected onto him—unless an awakening comes to break the cycle. (...) For the awakening to become operable, I must make the person act, lead them to commit a very precise act, but I must do so without taking charge or assuming the role of guide regarding their life."

"We only have problems we really want to have."

"The people with low level of consciousness look for someone else to affirm their value, but people with higher levels of consciousness, what they seek is someone to point out their defects so they can become better."

"That is the marvel of true art, that no one has yet found a way to commercialize it."

"But everyone in the world has a cross. Mine is mine, yours is yours: I only can make you conscious of your cross and, apart from that, you free yourself or not. This depends on you."

"If we want to transform reality, we begin with ourselves. We do not ask the world to change, and we do not fight against society. It has to be us ourselves who affirm our own values."

"Many people effectively stop carrying out what it's called "life's a movie." The majority of people want to be like others, and this drives them to a death in life. It is necessary to find what distinguishes us from others in order to be something. To the extent that we try to be like others, we convert ourselves into zombies."

"We have to stop thinking that God is going to fix everything and saying that if God made everything bad in this universe then we are here to do to, too, again. If there is a God, we are here to help him. This requires that we take possession of the world and of ourselves. We must do what we want to do with full consciousness and with full responsibility. In this level of divine consciousness, we find true art."

"Family hurts us, it is like a trap, it shortens our life, it bothers us psychically and socioculturally, it forces us into a limited level of consciousness, it robs us of our essential self, it inculcates ideas in us that are not our own, and at the moment when we find ourselves in the world, all of this collapses and we have to build a life from scratch. We forgive ourselves because no one is guilty. Generation after generation, each one is victim to the one before. We end up with many centuries of being victims, but in the end you understand that there is no reason for resentment."

"We need to work in a job that we like and always be peaceful people, to do what we like. We must be what we are and not what they want us to be. To love what we love without obligation, without neurotic knots that we cannot untie. To desire what we want and to create what we are capable of making. To live with a certain prosperity, without wasting. But a prosperity for everyone, not a prosperity based on exploiting others. And, of course, it is necessary to become immortals and for this we have to live as if we were immortals thinking that we have a thousand years more to do what we want but without forgetting that in ten seconds we can die."

"At a certain age, you have to make yourself useful for others. When you have lived and life has given you an experience, whether good or bad, the moment arrives when you should pass on what you know. Rather than turn into a dumb old person, you should go further every time. Aging does not exist, neither does mental decline. The memory can have less capacity to find a word or maybe you can feel less sexual desire, less virulence, but there is no reason for desire to have disappeared. If, during your life you have worked the emotions, when you mature you begin to know sublime feelings, which you did not have when you were young because nature did not let you. It takes forty years to find yourself. The true opening of the consciousness cannot be had before this age. From there, the journey begins."

"I remember some artists who said this world isn't worth anything, that it is a pigsty, that we are going nowhere, that God is dead, and all those things. Bad literature is this. To expose your navel, to tell how you drank your morning coffee amid general disgust, with everything around you rotting. While the world is dying, I drink my coffee. Or I perform my little sex acts. This is old-fashioned. One must cross this neurotic curtain."

"Beauty is the maximum limit we can access through language. We cannot reach the truth, but we can get close to it through beauty."

"The symbolic act of the death of the father is absolutely necessary, but it is also necessary to do it in an intelligent way, with lucidity and without resentment. If you perceive your father in a violent way, it is because you are not killing him: you are asking him to love you because you need it. But if you are able to see him positively, without his pedestal and without your fear, you are no longer begging him to love you in order for you to exist. And this is when you kill him, when you make him fall. But once you've knocked him down, it is necessary to rebuild him and repay him, because fathers have essential value, even if they are monsters: they give us life, they leave their imprint on certain parts of our being, and they allow us to become who we are in a conscious way."

"When we do something we have never done, we are already on the road to healing. We must break the routines."

"No one fulfills himself fully. What is fulfilling oneself? Advancing as one can."

"Tenemos que ser muy conscientes de que debajo de cada enfermedad hay una prohibición. Una prohibición que viene de una superstición."

"Addictions come from shortages in infancy. People try to compensate this way. Alcoholism is generally produced from a shortage in mother's milk. And heroin addiction is usually due to a lack of being, the absence of recognition; the drug fills the emptiness of not being loved."

"The person who does not control his territory does not control his existence. If someone is not conscious, he is taken over, not only outwardly but also with the thoughts that assault him. He is very vulnerable to desires and feelings. For example, you live calmly with your wife, and then—catastrophe! Suddenly you lose control because you have fallen in love with another. You don't have to fall victim to that reality; what you have to do is navigate in it, overcome the winds and sandstorms. Amid the storms at sea and the signs, you must move forward calmly and look toward the port you're heading for. In New York, when I was filming The Holy Mountain, I had problems of all sorts. I soaked six or seven T-Shirts a night with my sweat. I went to see a Chinese sage that someone had recommended. He was a poet, a great master of tai chi, and a doctor. When he first saw me, he said, "What is your purpose in life?" I was disconcerted and did not answer. He continued, "If you do not tell me what is your purpose in life, I cannot heal you." So I understood that if a ship crosses the sea without a purpose, it will arrive at no port. What prevents life from devouring us is having a purpose. The higher it is, the further it will carry us..."

"I say: "What you give, you give to yourself; what you do not give, you give up." And this is to say that whatever you do in the world, you do to yourself; and whatever you do not give to the world, you lose. If I keep my knowledge, I lose it. (...) One receives knowledge and gives it. When you give knowledge, you enrich yourself. If you do not give love, you are detracting from yourself. If I begin to help people, if I begin to heal people, I begin to heal. Do you understand? To be a therapist, you have to be a patient. The first thing to do to heal yourself is to heal others. I have one more saying: "I do not want anything for myself that I do not want for others"."

"Once centenarian teacher who had the body of an adolescent told me he had studied martial arts. "Me, too," I answered. We were in Notre Dame, and he said, "Attack me." I put myself in a combat position, and he moved his left hand in such an incredibly beautiful way that while I looked at it, fascinated, he gave me a big slap. "Beauty is the most dangerous weapon," he warned. It took me a long time to understand. He used a secret Chinese practice, which consists of drawing a snake in the air with your hand to distract the enemy. And that is how beauty is: the most awful weapon."

"Music was his language, the divine tongue through which he expressed a whole realm of sentiments that only the select few can appreciate... The muse of his homeland dictates his songs, and the anguished cries of Poland lend to his art a mysterious, indefinable poetry which, for all those who have truly experienced it, cannot be compared to anything else... The piano alone was not sufficient to reveal all that lies within him. In short he is a most remarkable individual who commands our highest degree of devotion."

"Chopin has done for the piano what Schubert has done for the voice."

"Chopin was the first piano composer who knew exactly how to make piano sound reach fullness, radiance and grandness. What to regard and what, by all means, to avoid. Chopin was keenly aware of the overtones and he did take care of them so artfully."

"We couldn’t do much outside. I found more details in my music."

"After playing Chopin, I feel as if I had been weeping over sins that I had never committed, and mourning over tragedies that were not my own."

"If the mighty autocrat of the north knew what a dangerous enemy threatened him in Chopin's works in the simple tunes of his mazurkas, he would forbid this music. Chopin's works are canons buried in flowers."

"Hats off, gentlemen — a genius!"

"Fortunately the picture as it stands is quite complete, and the figure of Chopin clearly emerges: that marvelously controlled, original, poetic, nuanced classic-romantic pianist and musician, whose physical resources may have been small but whose spirit and conception were epical."

"Chopin was a romantic who hated romanticism. This is the paradox. It was Chopin who, of all the early romantics, has turned out the most popular. Virtually everything he composed has remained in the repertoire, and a piano recital without some Chopin on it is still the exception. […] In his day he was a revolutionary. To many his music was exotic, inexplicable, perhaps insane. Critics like Rellstab in Germany, Chorley and Davison in England, dismissed much of Chopin’s music as eccentricities full of earsplitting dissonance."

"It was Chopin who properly set romantic pianism on its rails and gave it the impetus that shows no signs of deceleration. He did this all by himself, evolving from nowhere the most beautiful and original piano style of the century."

"There is no weak piece by Chopin. Still, his music is played so poorly so often, and that does not do him any good. The Sonata in B flat minor and the ballad in G minor are played much very often. It does not mean I wouldn’t play them, but I wouldn’t do it so much."

"His creation was spontaneous, miraculous. He found it without searching for it, without foreseeing it. It came to his piano suddenly, complete, sublime, or it sang in his head during a walk, and he would hasten to hear it again by, tossing it off on his instrument. But then would begin the most heartbreaking labor I have ever witnessed. It was a series of efforts, indecision, and impatience to recapture certain details of the theme he had heard: what had come to him all of a piece, he now over-analyzed in his desire to write it down, and his regret at not finding it again "neat," as he said, would throw him into a kind of despair. He would shut himself up in his room for days at a time, weeping, pacing, breaking his pens, repeating and changing a single measure a hundred times, writing it and effacing it with equal frequency, and beginning again the next day with a meticulous and desperate perseverance. He would spend six weeks on one page, only to end up writing it just as he had traced it in his first outpouring."

"In keeping time Chopin was inflexible, and many will be surprised to learn that the metronome never left his piano. Even in his oft-decried tempo rubato one hand—that having the accompaniment—always played on in strict time, while the other, singing the melody, either hesitating as if undecided, or, with increased animation, anticipating with a kind of impatient vehemence as if in passionate utterances, maintained the freedom of musical expression from the fetters of strict regularity."

"According to a tradition—and, be it said, an erroneous one—Chopin’s playing was like that of one dreaming rather than awake—scarcely audible in its coninual pianissiomos and una cordoas, with feebly developed technique and quite lacking in confidence, or at least indistinct, and distorted out of all rhythmic form by an incessant tempo rubato! The effect of these notions could not be otherwise than very prejudicial to the interpretation of his works, even by the most able artists—in their very striving after truthfulness; besides, they are easily accounted for."

"Sometimes I can only groan, and suffer, and pour out my despair at the piano!"

"Time is still the best critic, and patience the best teacher."

"One needs only to study a certain positioning of the hand in relation to the keys to obtain with ease the most beautiful sounds, to know how to play long notes and short notes and to [attain] certain unlimited dexterity... A well formed technique, it seems to me, [is one] that can control and vary a beautiful sound quality."

"I wish I could throw off the thoughts which poison my happiness, but I take a kind of pleasure in indulging them."

"I'm a revolutionary, money means nothing to me."

"My piano has not yet arrived. How did you send it? By Marseilles or by Perpignan? I dream music but I cannot make any because here there are not any pianos . . . in this respect this is a savage country."

"Messieurs, I should like to be granted the favour of performing at one of your admirable concerts, and this I beg to ask of you. Trusting, since I lack other qualifications to obtain this, in your goodwill towards artists, I dare to hope that you will greet my request favourably, I have the honour to be, Messieurs, your very humble servant. Frédéric Chopin Cité Bergère, No. 4"

"No one other than I has read your letter. As always, even now, I carry your letters with me. How blissful it will it be for me, having gone beyond the city walls in May, thinking about my approaching journey, to pull out a letter of yours and assure myself sincerely that you love me, or at least to gaze at the hand and the writing of him, whom only I am able to love!"

"I'm glad that the secret is submerged in my heart, that in me is the end of what is for you the beginning. And be glad that you have in me an abyss into which you can cast everything without fear - as if into a second self - because your spirit has long lain there at the very bottom. I keep your letters like a ribbon from a mistress. I have the ribbon; write to me, I'll caress you again in a week."

"Give me a kiss, dearest lover. I'm certain that you still love me, and I fear you always, like some tyrant over me. I don't know why, but I fear you. Upon my word, only you have power over me, you and... no one else."

"Being Chopin a pianist himself, his works are mainly conceived for the piano. When people use the word “pianistic“, it means that the pieces lay easily, naturally and smoothly under the fingers. This is true for Liszt and Debussy too."

"Chopin is played much more than Schumann in China, both in concert halls and music schools. The reason, if I put it in a most simple and direct way, Chopin is more universal, appeals more to the masses. Schumann is more personal, appeals more to the elites."

"Chopin wrote many small pieces – mazurkas, waltzes, préludes, nocturnes – many more than Schumann. That covers the needs of millions of amateurs who love music, but do not command the instrument well enough and who love Chopin’s music. It enters their hearts."

"...Chopin rather made a habit out of gainsaying genre expectations: his Barcarolle isn’t a barcarolle, the Scherzi aren’t even remotely funny or even lighthearted, the Waltzes are completely undanceable, the Preludes aren’t prelude to anything, the Nocturnes render Field unlistenable…"